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Arts and Entertainment



  1. Verse | LEE Chang-dong | 2010 

INARGUABLY, and I say in strong letters intentionally, the best Korean motion pictures of the century. Lee Chang-dong is without a doubt one of the most mind-blowing contemporary screenwriters and chiefs working today. Indeed, even with the most slender plot that can be decreased to one sentence, the complicated and layered dramatization that he packs would require numerous surveys to understand totally. It doesn’t beat in “Verse”. Examining the responsibility and sorrow, and articulating it to vent out while confronting the existential emergency frames a fundamental topic of Lee’s melancholic “Verse.” This is Lee’s most available work, however, it contains a huge number of passionate and mental layers. 

  1. Recollections OF MURDER | BONG Joon-ho | 2003 

Luxuriously nitty-gritty and frightening, “Recollections of Murder” is a breathtaking work in character study and in making the troubling pressure all through the film. The muffled shading cinematography and the huge vacancy of the fields in the downpour make a feeling of ghastliness prowling in each edge. The ceremonial sequential killing of ladies in the unassuming community of South Korea brings the two uncouth nearby cops alongside a quiet and reasonable Seoul official to break the case. This movie Town place is too good and I also like this town. If you want to create your unique town name then use this town name generator. It helps you in the best way.

  1. PEPPERMINT CANDY | LEE Chang-dong | 2000 

Lee Chang-dong’s ‘Peppermint Candy’ is a determined and slow assessment of a man in the background of the steadily changing and unstable sociopolitical climate in Korea. The five stages in the hero’s life structure the story in Peppermint Candy. It is an organized backward request and opens with his self-destruction on the scaffold, then, at that point, returns on schedule to his school days. It does a mental investigation of Young Ho (Sol Kyung-gu) after he incidentally shoots an honest young lady during the Gwangju slaughter during the 1980s. 

  1. THE WAILING | NA Hong-jin | 2016 

Na Hong-jin flawlessly mixes numerous classifications effortlessly, building a mental frightfulness including sinister clique and antiquated cultural story. “The Wailing” resembles a goliath beast who isn’t apparent, however, its threatening, foreboding presence of extraordinary power is felt through the creepy quiet like you are going to be swallowed by the downpour of repulsiveness. This movie is like the rain of horror. I like this movie’s heroes. They save people if you like to be a superhero then make your superhero name using this superhero name generator.


The King and the Clown is a verifiable terrible satire. It’s an inconspicuous and nuanced investigation of sexuality, love, desire, and frenzy perfectly beautified in the scenery of fifteenth-century Korean socio-culture components, during the rule of King Yeonsan. The layered story, incredible talks, and sensational figures of speech structure a lamentable problem strikingly helping to remember Shakespearean misfortune

  1. SECRET SUNSHINE | LEE Chang-dong | 2007 

Secret Sunshine is a courageous, melodious dramatization that gets sincerely burdening as we get to find out about docile and pleasant Shin-ae (Jeon Do-Yeon). Lee Chang-dong’s thick account is overflowing with the enthusiastic and mental breakdowns that Shin-ae encounters while lamenting over the deficiency of her child. The initial scene of the film anticipates the destiny of Shin-ae and her child. They are caught in the expressway, searching for help while moving to Miryang (in a real sense means Secret Sunshine in Chinese). She wishes to restart a new life in her better half’s local land, after his passing. 

Her disrupted life takes a terrible turn when her child is seized and later tracked down dead, driving her to the battle of discovering an authentic sense of harmony in the midst of the individual misfortune, distress, evening out disappointment, and insecure confidence. Jeon Do-Yeon gave a submitted and standout performance that won her Best Actress grants at 60th Cannes Film Festival. 


“Treeless Mountain” is a puncturing, moderate film that adroitly stays away from sentimentalism for tracking down the naturalism in its account and characters. It is about two guiltless young ladies, 7 YO Jin and her more youthful sister Bin, who are left by their distressed mother being taken care of by their aunt while she endeavors to accommodate her delinquent spouse. In one of the scenes, Aunt (Mi Hyang Kim) chides a 5-year-old Bin for peeing in bed. The young lady earnestly affirms two or multiple times that she didn’t pee in bed. It is her 7-year-old senior sister Jin who has wet the bed, yet Jin stays a quiet onlooker out of humiliation. 

  1. Consuming | LEE Chang-dong | 2018 

“Consuming” is a staggering, obscure, vague conundrum story, loaded up with dubious developments. It’s a very much created film, with quieted cinematography, and outright control of its composition, as shown in the amazing portrayal. 

The best accomplishment of “Consuming” lies in the controlled and limited portrayal that utilizes negligible composition, depending on viewable prompts to communicate the impenetrable strain among the characters. The indignation, anguish, fury, love, and jealousy are rarely unequivocally communicated. Rather, they are disguised in awkward quotes, and further uplifted by Kim Da-won’s agitating score

  1. THE HANDMAIDEN | PARK Chan-wook | 2016

“The Handmaiden” swarms with different things without a moment’s delay: a charming heartfelt period piece, a mental exotic dramatization, a lengthy analysis on Japan’s control of Korea during the 1930s, a con story where the cheat gets conned; more than anything, “The Handmaiden” is a refined, instinctive true to a life practice that packs disturbing tale of affection, trickery, and freedom of ladies that heaps on costly symbolism. 

  1. Twilight WINTER | DAE HYUNG LIM | 2019 

In his sophomore film ‘Twilight Winter’, Lim Dae-Hyung shifts his concentration to mother and little girl’s stressed relationship subsequent to depicting father and child relationship in his presentation film Merry Christmas Mr. Mo (2016). Lim takes a traditional story of an unbalanced relationship that creeps towards a compromise; in any case, that is illusion movie producers plan to manage something more delicate and dubious for Korean culture. 

Kim Hee-ae stars as a moderately aged lady who contains a mysterious that eats her back to front, consequently bringing about separation and harsh life. The shadows of her past torment her back when incidentally her irritated girl peruses a letter to her. The quelled account is told in a sluggish way with such contemplative misery that it will pulverize your heart and toss you in a dark opening of despairing. It blends such a wave of hopeless feelings that it will be hard to disregard. 

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