Park Chan-wook puts in scene, in the Korea of the 1930′s, is a fools ‘ game erotic inspiration sadienne.
the opinion of The “World” – do not miss it
We knew up until then, Park Chan-wook as the enfant terrible of the genre cinema of south korea, whose style is constantly overheating jonglait frantically with violence pompous and the grotesquely regressive. Could sometimes be distasteful, in the films that have made it famous, the first of which are his “Trilogy of revenge” (Sympathy for Mister Vengeance, Old Boy, Lady Vengeance), a certain appetite for exaggeration, as well as a mock so surjouée that it became hysterical. His frantic quest for originality and dynamism has sometimes led to a certain overload (Thirst, this is my blood, 2009). Yet, if the cinema of Park Chan-wook is often shown also surprising that exhausting, it is that lay in his mess of a talent that is palpable, which would, no doubt, to be channeled.
Mademoiselle, shown in competition at Cannes, where it walked away with a reward technique, accomplishes the prodigy and mark, following his tour of the us (Stoker, , 2013), a true point of inflection in the career of the filmmaker. He must, first of all, its anchorage in the historical fiction, which seems to have somewhat calmed his passions, but above all, in its inscription in a certain tradition of Korean cinema, namely the film of domesticity, the success of which is rarely denied, at least on the local level, dates back to the famous The Maid, Kim Ki-young (1960), who knew the number of remakes and re-wording…
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