Park Chan-wook is the heir apparent to Alfred Hitchcock (and by extension, Brian de Palma), and Decision to leave It’s further proof that no one does modern erotic thrillers quite like him. Park took home the Best Director award at this year’s Cannes Film Festival, and the film — now in theaters and in “Moby”, after its final arc at the New York Film Festival — is an enchanting whirlpool of romance, passion, and projection, all riveted by trick-or-treat secrets. and formal luxury. like before big boy And the the maidIt’s a work of outstanding kind, silky craftsmanship, so sinister, serpentine and sexy that it’s swoon-worthy.
In Busan’s Labyrinth, imagined as a narrow (and exhausting) labyrinth, Detective Hae Joon (Park Hae Il) is tasked with investigating the death of a man who fell while climbing an enormous rock formation. In its first satirical comedy moment, Hae-joon forces his younger and more reckless partner Soo-wan (Go Kyung-pyo) to scale this climax in reverse as a way to track the victim’s final path. Motivation to assume someone else’s point of view is key Decision to leaveThrough a powerful attack of compositions from various POVs (and high and low angles), Park asserts, imaginative sequences in which people imagine themselves in different spaces, and endless shots that include mirrors and reflective surfaces. Add to this an installation of diagonal visual lines—whether halls, staircases, ramps, corridors, or other architectural structures—as well as windows and doorways housing the characters, and the film establishes fantasies of ever-changing vantage points.
To enhance this atmosphere, Park uses an array of velvet pans, zoom-in and zoom-out, and montages set to a contrapuntal sound. Also featuring Bernhard Hermann-Esek’s Jo Young Wook score of woodwinds and restless and sensual strings, the director’s aesthetics are exquisitely exquisite, creating an equal mood vertigoAnd the double hullAnd the in a lonely place. Co-written by Jeong Seo-kyeong, Park’s screenplay moves at such a rapid pace that it was unsettling at first. However, his images – edited alongside a hypnotic beauty by Kim Sang-bum – are so expressive and suggestive that it’s not only easy to keep up with the twists and turns of events, but to be swept away by the dreamy movement.
Hae Joon’s investigation into the death of a rock climber leads to the wife of the deceased Seo-rae (Tang Wei), a Chinese immigrant who speaks shaky Korean and works as an aged care nurse. Supposedly, Seo-rae was with one of her patients in the morning that her husband met his horrific fate, and Hae-joon is willing to believe her innocence, because he is instantly smitten by her beauty. Not that he’s initially willing to admit it; He retreats when Soo Wan scolds him for treating Seo Rae more leniently than if he was less attractive (or male). However, Hye Joon quickly falls under the spell of Seo-rae – a state of recovery from recurrent insomnia, which causes him to struggle to stay awake while driving his car, and is strangely separated from his wife Jung-an (Lee Jung-Hyun), who He warns him about the ominous statistics regarding couples who do not have sex regularly.
Hae-joon and Soo-wan are simultaneously on the trail of another criminal, and soon it is revealed, who is also in a love triangle, thus adding to the Decision to leaveIt’s an all-encompassing blend of romantic hallucinations, sex, and violence. These items are all part of Hae-joon’s growing infatuation with Seo-rae, who has been abused and tagged by her husband (by his initials), and which Hae-joon watches eating ice cream at dinner (and smoking afterwards) during the all-watch night to her home. Before long, he would fantasize himself by her side in that dorm, then literally spend nights with her, as his evidence panel examined unsolved crimes and helped him sleep through technologies originally developed by the US Navy. During their subsequent rainy walks around temples and exchanging nightly texts, their sentimental blossoms are complicated by Hae Jun’s nagging suspicion that Seo-rae has something to do with her husband’s death.
Hye Jun’s use of eye drops is another method Decision to leave The act of seeing (and the difficulty of doing so clearly highlights), not to mention suggests the unhappiness and inner distress of character, resulting from falling between duty and desire. By the time Seo-rae’s case was resolved, Hae-joon openly admitted, “I’m completely broken.” Park then jumps thirteen months into the future to locate him as he attempts to regroup himself once more in the misty city of Ibo, where – in a twist of fate that may not be as coincidental as it was meant to appear – he meets the Seo-rae who is now Married to a new man. Sadly, Seo-rae’s second marital round turns out to be no more stable than the previous one, and when she finds herself in the middle of another murder investigation, Hae-joon’s world spins more deliriously and out of control.
“Sadly, Seo-rae’s second marital round turns out to be no more stable than the previous one, and when she finds herself in the middle of another murder investigation, Hae-joon’s world spins more deliriously and out of control.“
Hye Joon considers this murder with a curious new partner, Yeon Soo (Kim Shin Young), his nagging questions heightening his obsession, and Decision to leaveThe act of closing collapses into a vortex of tangled emotions, as Park Hae Il and Tang Wei share such tangible sparks that the material pulsates with fear and sexual confusion. This is also due to the Park tendency, which delightfully takes advantage of physical locations—whether indoor pools, outdoor mountain ridges, or the confines of a comfortable car—to separate and alternately connect its protagonists. The whole film is breathing, pulsating with energy, as well as bleak longing and existential distress, the last of which seems to befall Hye Joon, a man doomed to sleep in life due to his inability to make peace with the past.
Park’s latest writing is ultimately an epic about leaving – and giving up – as a potential way to secure some measure of solace, and the way such plans don’t always work out with the precision one might hope. Hye Joon and Seo Rae’s decisions will likely inspire the debate among viewers, but what’s undoubted is Park’s control of the medium, and he’s remarkably confident that he Decision to leave It ends up being the kind of passionate mystery that one wishes would never end.
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