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Choice To Go Away Movie Evaluation: Park Chan-wook's Cannes Noir Is A Profound Look At The Femme Fatale Park isn't any stranger to the pageant, having won the Grand Prix for “Oldboy” in 2003 and final showing with “The Handmaiden” in 2016. Explore the history and people who run Cinema/Chicago & be part of the team. See which films impressed critics on the just-concluded 75th Cannes Film... Here what at first looks like curiosity, quickly turns into an obsession. An obsession that does not appear to be repressed and but by no means explodes even though the two folks concerned are absolutely conscious of the state of affairs, and both reciprocate their feelings. The only fault that can be taken from the film is related to the script.  He really sets up Hae-jun as a rational creature so he can then unmoor him from his routines and see what happens. And he’s splendidly playful here with the theme of communication—Seo-rae speaks Korean but typically has to use a translator app from her native Chinese, highlighting how these people aren’t actually talking to a minimal of one another in a direct manner. I nearly wished extra of this playful spirit, extra of a way that these are two people who turn out to be embroiled in a harmful situation who can never actually see one another via “The Mist,” which occurs to be the name of Seo-rae’s favourite track.  Remodeling The Way People See The World, Through Film  But it’s still a tremendous shot of pure Park — suave, refined and attractive. Not to mention very possibly the most effective erotic cop thriller ever. Like Seo Rae's dress, some folks assume it's green; others see blue. The wallpaper in her home shows patterns of mountain peaks, however upon nearer look, they look like hundreds of waves crashing into one another. The mountain and the sea appear so shut, yet are always out of every other’s reach. If the clever love the water and the benevolence the mountains, the lovelorn will at all times select to remain behind within the earth.    And he continues to throw data at us, explaining away things that don’t appear to be worth the effort. Park, for one, is clearly combating the movie and TV cliché of the cop who solely appears to work one case at a time, and so we see Hae-Joon investing himself in different mysteries which are quickly dispatched. But by the time you notice that these crimes don't have anything to do with the already convoluted murder of the mountain climber, they’ve been discarded for the sake of more exposition.  Park, the director of such classic films as “Oldboy” and “The Handmaiden,” is the kind of artist who sees what we see, only differently. Here he places his signature spin on film noir, full with a sleep-deprived detective, a femme fatale and a pesky murder case to solve. Park’s films, whether or not they're his propulsive and violent “Vengeance Trilogy” of “Sympathy for Mr. Vengeance,” “Oldboy” and “Lady Vengeance” or the statelier and sultrier “The Handmaiden,” are nothing if not stylish. He’s one of the accomplish visible stylists in international cinema, managing to make even essentially the most prosaic places in “Decision to Leave” – a police station, a parked car – look alluring and dramatic. It’s unimaginable to debate the second half of “Decision to Leave” with out spoilers so I won’t reveal details, but it echoes the first in more and more fascinating methods.  But it sticks the touchdown completely, with a powerful resolution that hammers house the emotional throughline of the story. This is a movie about two people deeply uncomfortable with their place within the trendy world, who by way of each other have needed to grapple with each meanings to the act of leaving; what occurs when we depart somebody, and what of ourselves we depart behind. Hae-joon is drawn to Seo-rae because he notes she has a “classical” vibe, and she or he herself feedback on what sets him apart from other modern people. In a world that feels suffocating and passionless, one thing as old-fashioned as a detective-suspect affair has an simple attraction. When a hiker falls from atop a mountain, fingers begin pointing to the corpse’s Chinese spouse, Seo-rae .  But as he digs deeper into the investigation, he finds himself trapped in an internet of deception and need. That feeling kicks in at across the four-minute mark, when Hae-jun (Park Hae-il), a Busan police detective, arrives on the foot of a mountain peak to look at the body of a person who has fallen to his death. The exacting strategies of Hae-jun’s investigative techniques mirror Park’s formal ones, as Decision to Leave unfolds with the meticulous care and playfulness of a director in full control of his talents. The dead man, a retired immigration officer, has a younger wife, Seo-rae , whose look on the morgue to determine her husband’s physique lights the spark of an obsessive love, igniting an incredibly tangled fuse.  Movies  Wrapped in the investigation of the bizarre dying, Hae-joon’s interest within the woman quickly transcends the professional as he becomes enamored with the primary suspect. Focusing simply on character does a disservice to how much of a visible feast Decision to Leave is. From beginning to finish, you’re reminded of the unparalleled dynamism that fills the director’s work; with impactful sound design, beautiful framing, and genius edits (just as it’s mentioned how blowflies lay eggs on cadavers, we reduce to Hae-joon cracking an egg right into a pan). Decision to Leave may not be as flashy or sumptuous as a few of his other work, however in his first collaboration with cinematographer Kim Ji-yong, there’s plenty of sweeping tracking shots, extreme pans and unimaginable perspectives (from a dead man’s eyes or under a morgue sheet) to pore over. Park Hae-il is terrific as lead character Hae-joon, an investigator whose face droops with weariness and paperwork-induced ennui.  There’s one other thriller that’s thrust into Hae-jun’s life and it forces him to rethink each decision he made within the first case and what matters to him now. Park plays with parts of not simply noir however the old style romance films that Seo-rae likes to observe. He basically units these characters up, defining them within the first half, and then bounces them off each other in unexpected ways in the second half, in the end leading to a rewarding thriller even if it lacks the sharp edges we’ve come to anticipate from Park. Decision to Leave stokes admiration for the inventiveness of a cross-fade, yet fosters our profound apathy towards basics just like the identification of a murderer or the stirrings of the forbidden lovers.    If Decision to Leave is not quite on the same level as Park Chan-wook's masterpieces, this romantic thriller is still a exceptional achievement by any other metric. Tap "Sign me up" beneath to receive our weekly newsletter with updates on movies, TV reveals, Rotten Tomatoes podcast and extra. Email AddressPasswordNameBy signing up, you conform to ourterms & conditionsandprivacy policy. Keep observe of the films and present you need to see + get Flicks email updates. Throughout, one usually feels the plot machinations working against Park Chan-wook’s poetry, although in a few cases poetry wins out.    'Choice To Go Away' Evaluate: Park Chan-wook Delivers A Thriller With A Rom-com Twist    The atmosphere of Park's neo-noir melodrama is clouded by a mind fog in which it is difficult to pay attention and make decisions. Park Chan-wook can say a lot about his characters and story by simply setting a desk. Decision to Leave, Chan-wook’s first movie since 2016’s The Handmaiden, is both a romance and a police procedural, as detective Hae-joon (Park Hae-il) investigates the murder of a person who died on a mountaintop. Hae-joon suspects the man’s wife, Seo-rae may need something to do with her husband’s death, and so he brings her in for questioning. Because a large portion of the story is a psychological thriller, Decision to Leave is talky by necessity however Park makes use of a mess of participating strategies to maintain the visuals stunning and kinetic. From a bonkers Steadicam foot race between Hae-joon and a theft suspect, to the skillful use of transitions when he’s staking out her house, or the slick use of on-screen textual content messaging between characters, there’s subtle however constant movement.  Hae-joon’s suspicion isn’t assisted by the fact she euthanized her mom, which is why she can never return to her homeland. Eventually, her husband’s case is closed simply in time for more condemning proof to be revealed. The mutual attraction between suspect and investigator is quelled by Hae-joon transferring to Ipo. But Sea-rae arrives a 12 months later, this time with a model new husband with nefarious connections.  As Hae-Joon snaps pictures of the corpse together with his cellphone, ants crawl over the dead man’s eyes, a flourish that embodies damaged vision whereas suggesting that the macabre jokester that helmed Oldboy hasn’t left the building. It seems odd that homicide proof would be gathered on a personal cellphone, because it appears to be a readymade way to compromise an investigation, and Park needs you to notice the strangeness of such details, which set up the fragility of our hero. Hae-Joon isn’t ferociously competent in the custom of Law & Order cops, however distractible and ripe for manipulation within the mold of J.J. Park Hae-il is riveting as a storied detective knocked again on his heels by love, while his overzealous protege serves as a buzzing comic relief. But Tang Wei dazzles as a girl who refuses to be pinned down by this lovestruck man or his want for black-and-white descriptors. When they converse, it's with an intimacy so profound that it feels like we are eavesdropping.  They get high praise, possibly simply because they're international and the "it" factor. Why did the police even suspect the primary dying was a homicide in the first place? (They began investigating and stalking the wife even earlier than there was any mention of DNA found under the dead man's fingernails.) What was the thing with the second husband anyway? This movie just isn't a romance nor a thriller nor a thriller nor something that matches into any style. It is a far cry from Oldboy and the director ought to cease making films if that is how a lot he has regressed since his heyday. I wish to give this film a zero to counterbalance all the 10-ratings.  The Director knows how create cheap jokes that could be confused for wittiness or boldness, but then one realizes that they solely have been thrown in and don't actually assist carry the story. Hae-jun’s partner instantly suspects Seo-rae; Hae-jun himself is fast to defend her. It was in all probability an accident or possibly even a suicide, right? And Hae-jun gets drawn into extra than simply the case as he surveils Seo-rae and becomes obsessed together with her quirks. As he crosses the professional line to learn more about Hae-jun, he begins to make mistakes, and Park cleverly embeds focus points into his story, whether it’s the morning fog of Ipo or the eye drops that Hae-jun has to use to clear up his blurred vision. I do not get why this movie scores greater than Park's old boy and the handmaiden.  User Evaluations  Tang Wei is initially equally riveting, and the cat and mouse recreation taking half in adds a way of intoxicating hazard for both of them. But as every damning clue about Seo-rae is revealed, there seems to be a rational explanation from her perspective. When a chunk of proof reveals itself, the diminishing sense of ambiguity allows him to take away himself from his curiosity and as quickly as again concentrate on his marriage. His professional self-exile to the a lot smaller Ipo proves to convey back his insomnia and everlasting restlessness with a vengeance…until Seo-rae pops up once more.  Film Information  However, it doesn’t mood how assured, memorable, and eloquent Decision to Leave is. And just when you suppose the story has revealed itself, Chan-wook introduces a flip that reframes every thing we predict we all know about the characters and then places them on a new path that carries the movie into sudden territory. The change only amps up the longing and star-crossed unpinning to Hae-joon and Seo-rae’s unconventional connection. Park Hae-il and Tang Wei conjure major In the Mood for Love power that’s simply as riveting and swoony.    Hae-joon is married to Jung-an (Lee Jung-hyun), but the pair are regularly separated due to their jobs, and their intimacy isn’t what it should be, even to the purpose that they plan out intercourse forward of time. Hae-joon and Jung-an care for each other, however this relationship clearly isn’t what it should be. Contrast that stiffness with the second Hae-joon brings Seo-rae in for questioning.  In the top, the spectator is -- just like Hae-jun -- left incapable of having the ultimate verdict on Seo-rae, this ephemeral character within the foggy panorama. For Hae-jun, the ache is available in the way ideas of Seo-rae crowd into his mind unbidden, even whereas he is making love to his wife. And then there’s the growing suspicion that this mercurial, brilliant girl, who seems to have as keen an intuition for criminal psychology as he does, might be toying with him; that the unintended dying of her husband will not be what it initially seemed. “Decision to Leave,” which received Park a directing prize at Cannes and can characterize South Korea within the Oscars’ international function race, is a film of subtler, more luxuriant pleasures. Compared with that unlucky octopus, the sushi here is both ethically sourced and exquisitely plated. And because Decision to Leave full movie ’s inextricably bound leads, Hae-joon (Park Hae-il) and Seo-rae , enjoy their meal in simple, companionable silence, you’d be forgiven for assuming they were lovers or spouses, somewhat than a homicide detective and his prime suspect.  Over the course of Decision to Leave Chan-wook continuously elevates what we’re watching, and the film by no means turns into an extreme quantity of to deal with. So when a man’s body is found on the base of a close-by mountain, Hae-joon is given the case. Which is how he meets the man’s lovely, enigmatic spouse Seo-rae , a Chinese-speaking eldercare employee whose obvious lack of concern at newfound widowhood piques Hae-joon’s curiosity. He will get to know her, and continues staking out her house at evening even after her alibi has satisfied him of her innocence, partly as a end result of it’s the only time the insomniac detective can get a good night’s sleep. Curiosity flares right into a surprisingly respectful type of obsession, by which each boundary of familiarity that's crossed is tacitly condoned and reciprocated. 

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