Widowed for a long time, a mother lives alone with her only son, Do-joon. He is 28 years old, a shy and quiet young man. In the aftermath of a terrible murder, the woman’s hopeless, helpless son becomes the prime suspect. There is no real evidence against him, but the police throw groundless suspicion at him simply because there is no way he can prove his innocence. Eager to close the case, the police are happy with their cursory investigation and arrest the boy. His defense attorney turns out to be incompetent and unreliable, making a conviction seem inevitable. Faced with no other choice, his mother gets involved, determined to prove her son’s innocence. —Cannes Film Festival
BONG Joon-ho studied Sociology at the Yonsei University and graduated from the Korean Film Academy. By 1995 he made three short films Memories in My Frame, White Man and Incoherence. He wrote and directed his first feature, Barking Dogs Never Bite, which won a Fipresci Award at the Hong Kong Film Festival in 2001. His second feature Memories of Murder won the Silver Shell award for the best director in San Sebastian Film Festival in 2003. In 2006 his third feature film, The Host, was selected for the Directors’ Fortnight at the Cannes Film Festival. —london.korean-culture.org
After seeing two films by Joon-ho Bong, I think I've caught on to what his movies are about: passionately devoted, though not necessarily healthy, families. "Mother" examines a small two-person family through a decidedly Hitchcockian ordeal while his previous "The Host" tested an extended family through the grinder of a monster movie.
I liked Mother quite a bit although I like it the least of his films (I love the others, in particular the hugely underrated Barking Dogs Don't Bite). But I think Trevork is spot on.
(...continued from previous post) ...are vastly more stunning both visually and in terms of narrative story-telling. As I said before, Mother is a film that follows convention in many ways, from building tension (closet scene with water bottle falling) to surrealist scenes (see Karaoke scene) to the final flashback twist. Park may use these conventions as well, but he does it with--for the most part--original style.
"Give director Paul Greengrass a completely fictional scenario into which he can weave multiple levels of tension and anxiety — for example
"After giving free-floating dread a gargantuan, tentacled form in The Host, Bong Joon-ho returns to human-sized monsters in Mother." Fernando
Bong Joon-ho, in South Korea, is making the movies Hollywood should be making—formally precise and inventive, slyly engaging but never overturning
The weird thing about Bong Joon-ho’s Mother is that Bong keeps the thing back from burlesque exactly by going too far: a mother-loving idiot
Tahun 2009 mungkin dapat dikatakan sebagai salah satu tahun yang paling membanggakan bagi industri film Korea Selatan. Bagaimana tidak, dua film mereka, yang sama-sama bergenre thriller, mendapat rekognisi… read review
The poster for Joon-ho Bong’s newest work Madeo [Mother], along with the one word title, screams thriller where the mother at hand will do anything for her child. Bin Won’s Yoon Do-joon appears wide… read review
if i am an academy voter,i will try my best to make MOTHER become one of the nominee of 2010 oscar for best foreign film. that statement just tells just how brilliant this movie is. This is comes as… read review
I will preface this by stating that Mother takes nurturing to a whole new level. This goes beyond simple breastfeeding and cooing. In fact, one particular scene even bordered along taboo lines. However… read review