Lee Chang-dong: The Art of Irony
A portrait of the South Korean screenwriter, director and producer Lee Chang-Dong through his work, this documentary provides a thematic analysis of his films, most of which have been selected for and received awards at the Cannes Film Festival.
Alain Mazars
Casts & Crew
Lee Chang-dong
Yoo Ah-in
Lee Da-wit
Jeon Do-yeon
Song Kang-ho
Sol Kyung-gu
Moon So-ri
Moon Sung-keun
Also Directed by Alain Mazars
Experimental diary shot in 1978-1979 when Alain Mazars was a volunteer teacher in China, 2 years after Mao's death. We see a few pictures, by candlelight, and they flash before our eyes quicker and quicker, before becoming mental images, an entanglement of memories coming from a mind that was asleep until then.
Chinese opera, whether of the Peking variety or not, is a very demanding art-form, requiring decades of study to be even partly mastered. In this film, Yan Yuejun was a Soochow Opera performer who fell afoul of the Cultural Revolution in the 1960s, and who has served his time undergoing compulsory "re-education." Now he is living in Inner Mongolia, driving a truck for a living, which is surely proletarian enough to suit his earlier tormentors.
"Shot in Madrid, in a carnival. The subject of the film is suggested by the spanish title. From "roda", I kept 2 connected meanings : the circular motion and movie shooting. As for "Morfosis", it is linked to the idea of metamorphosis. With the whole word, I wanted to suggest a metamorphosis of reality (places and characters) in a motion where everything is going round circles : what is on camera, camera itself and film inside."
Two parallel narratives. The first follows a present-day investigation by a group of Burmese through Mandalay, Maymo, Myaungmya, Twante, Syriam, Insein, Moulmein and Katha, where from 1922 to 1927 the most celebrated Western writer in Myanmar, George Orwell, worked as a policeman for the British Empire. The second narrative mirrors the first in the here and now : a journey into the land of fear, where the protagonists are the Burmese, Orwell and today's Western world. Having just taken a step toward escaping the hold of dictatorship, the characters of this film begin to give new meaning to their own lives, as if the reading of the English author's major work "1984" has had a revelatory effect on them. It is in this Burma, which we know to be governed by magic and spirits, that Orwell's ghost and the incarnation of the characters from his beacon novel are conjured in this film.
This film from the human fascination with immortalié stone, described by Roger Caillois in his book STONES. A cult of the stone has a long history in Asian countries like China and Japan. Moving from the mountain to the sea, the film unfolds like a dream incantatory which is the theme: In China, a mountain of Tséchouan, it is said that there was once a stone that had children. Beyond their age difference and the distance between them, those who dream of one stone are in constant contact. Fascinated by the same stone, their thoughts, their gestures, their desires end up merging. One day they will be reunited in a garden called the Garden of the ages. It describes the garden as the meeting in the same place and the same time the four seasons of life: the birth of spring, summer childhood, fall of man becomes an adult, the old man winter. This garden is both in and out, like a large house containing its own garden.
Special Jury Mention at Hyères International Film Festival in 1983. "When my eyes, closed for an icy terror, opened again, at my side, scented on the canvas, these faces were shaking confusingly."
Here the codes are both amplified and distanced by an expressionist plastic that for the first time perhaps in Expressionism, takes humor into account. Some very close-ups of flowers, insects, are reminiscent of the prose of a Caillois that I did not know until this film equivalent cinema. There is a double movement in this film. At the same time, a sort of restraint of the plans and a bulimia, a frenzy to film, perhaps this is what mainly troubles us and takes us into a way of seeing that was unknown to us.
A French divorcee travels to China to adopt a baby.
A girl uses spiritualism to escape her loneliness and neurasthenia. Inspired by practices more or less close to magic, she tries to create two characters that will be part of herself. She will be able to live without being alone, while fleeing the external reality. But little by little, the two beings that she created appear to be detached from her, as if the figure three could not agree to the harmony of the group. Her fantasies seem to turn against her, increasing her sense of isolation.