A Mizoguchi-style dream, a literally glowing piece of folklore that pits beauty against destruction and follows the logic of a fable instead of what "real people" (whoever they are) would do. The resonant coup: how the film chases its folkloric figures across the border into modern times and through the dirty schisms of the 20th century. Cheers to the World Cinema Project for restoring this Kazakh jewel.
Before there was modern Kazakhstan, this gem mixed Korean spirituality and transcendence, Tarkovsky-like imagery and Antonioni's alienation in a Kazakh melting pot. This tale of poetic revenge relies more on poetry, making it as subtle as it is intense, as it goes through years and years of failed existences, conjuring a beautiful sense of dread.
An uncanny combination of the rough and the smooth. History, here, is like a mist and there is so much diaphanous light it practically blinds. Perhaps this is a comment on perception itself. A poetic one. This is not blunt art. It is diaphanous. Shinarbayev seems to use cinema as a delivery system for transcendent moments. He especially shines at transposing reality into magic when he trains his camera on women.
"Revenge"is the haunting,mystical tale of a mans journey from Korea to the Soviet Union,in order to find his daughters killer.However,he dies before he can fulfill his revenge and so he passes the task onto his son.This stunning film is beautifully shot and is full of wonderful sounds.It unfolds like a folk tale about obsession and revenge.Filmed at the end of the Soviet era,could the bloodied sickle be significant?
At once a folk epic of magic realism and a portmanteau of linked tales of horror and revenge, this ambitious film from the Kazakh director Ermek Shinarbaev is subtle and beguiling. While the evocative cinematography and complex themes of memory and childhood suggest the influence of Tarkovsky, the creepy and unnerving score adds an important visceral quality to a film otherwise tending towards the arcane and artful.
What a wonderful peace of craftsmanship! Certainly a landmark in Kazakh cinema. Very reminiscent of Kobayashi's Kwaidan, which had similar elements, especially when you compare their intertextual narratives. Shinarbaev is an intelligent filmmaker who know's his cinema.
not only is the subject of this film overwhelmingly significant (the korean diaspora in the kazakh SSR), it's also beautiful and each shot appears to glow. the final 10 minutes broke my heart, and though the plot seems to revolve around vengeance, i think its core lies in diaspora and the longing for that unachievable return to the homeland.