Word: kwon
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Dates: during 2000-2009
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...light of these accolades, it is somewhat surprising to learn that Kwon-taek did not embark on his career in cinema with artistic aspirations. During his formative years the real motivation for his work was monetary...
...Kwon-taek began to seriously explore the artistic possibilities of film in the 1970s, and his 1981 film Mandala is widely regarded as his critical breakthrough...
...films selected for Kwon-taek’s hosted screenings at the HFA, Chunhyang and Chihwaseon, are his two most recent. Another film, Sopyonje, was screened Monday, March 7, but the director was not present...
Chunhyang, released in 2000, was adapted from a traditional epic and recounts the embattled life and tragic death of the titular courtesan. In the film, Kwon-taek combines the conventions of historical melodrama and musicals in ways reminiscent of Lars von Trier’s Dancer in the Dark, which, incidentally, beat Kwon-taek’s film for the Palm d’Or at that year’s Cannes Film Festival...
...seductive as Seung-up is, his abusive behavior towards the women in his life is unforgivable, and Kwon-taek’s film compounds these malefactions by relegating all of its female characters to the status of groupie or prostitute. By placing the maligned female voices in the film in the background, Kwon-taek falls into the same trap that has marred so many other artist biopics—recall Ed Harris’ Pollock...