Anna, sentenced to prison for murdering her brutal husband, is granted a brief leave of absence to attend her mother’s funeral in Seattle. On her way there she meets Hoon, a Korean immigrant who makes his living as a callboy. Both are outsiders – Anna as the outcast of her Chinese family, Hoon as a man being hunted down by a jealous husband. Two lonely souls who suddenly find what they had no longer dared to seek: a great love. But not only Anna’s return to prison looms ominously – Hoon’s past unexpectedly drives their joint future in a tragic direction.
Man chu, the movie version of a novel and a remake at the same time, portrays two fundamentally different characters united in their lack of direction. Director Kim Tae-Yong finds settings of painful beauty in the Seattle autumn. A fairground sequence of breathtaking emotional density is also visually one of the most outstanding moments of the cinematic year. In perfect harmony with the remarkable performances of the protagonists, the pointed dialogues at the Chinese funeral ceremony reveal with great precision the deep divides within a family. Man chu is great emotional cinema which goes beyond sentimentality and moves the audience to tears. –Berlinale
Kim Tae-yong (김태용; born on December 9, 1969 in Seoul) is a South Korean film director.
Although he initially wanted to pursue writing, Kim Tae-yong eventually graduated from Yonsei University with a major in Politics and Diplomacy in 1994. He first became involved in Korean cinema through a friend, who was an assistant director of an independent production. Inspired by the vibrant atmosphere that came with working on a set, Kim then enrolled at the Korean Academy of Film Arts (KAFA) in 1996. He met and became friends with fellow director Min Kyu-dong while at KAFA, where he and his classmates would work on short films as a part of the crew and doing lighting. In 1999, Kim and Min received the offer to direct Memento Mori as a sequel to the horror film Whispering Corridors (1998), and so began Kim’s foray into commercial cinema.
In some ways, Memento Mori might be considered the most influential Korean horror film of the 2000s. Although it was not a box-office hit, the… read more
Silences speak louder than words in this wistfully moody fourth remake of Lee Man-hee's 1966 classic of the same name (now lost), aided by Kim Woo-hyung's exquisitely expressive 'scope photography, metaphorically capturing Seattle's gray, misty ambiance as the eponymous season discreetly slides into winter. Though it might seem unfair to compare the work of Tang Wei, a relative newcomer, in this film to that of the great Japanese actress Kishi Keiko, who essayed the role as a middle-aged woman in the first remake, but her nuanced, quietly affecting performance is just as remarkable, and she's perfectly complemented by a winning Hyun Bin.