Deep in the sticks, it was where their mothers had whisked them to protect them from Detroit’s urban disaster. In this version of the story, it all starts in the early 1980s with three black guys at a largely white high school in Belleville, Michigan, pop. GSGEDM is here to let you know electronic dance music didn’t start with white European dudes like Calvin Harris and David Guetta and consequently to give the ‘true’ pioneers of techno their due. Useful intro to the history of techno/nostalgia fest for first-gen raversĪ documentary doesn’t always need a mission statement – it can simply be a story well told – but it can help keep things focused.
But it’s definitely a film I’d watch again.ĭirector Kristian R Hill Stars Juan Atkins, Derrick May, Kevin Saunderson US/Japan/Russia/South Africa/UK 2022 Language English 1hr 32mins Colour So, though, I’m not siding with the people who think it’s a masterpiece – at first viewing it’s not quite in the same league as The Handmaiden or indeed Oldboy, the films Park is best known for. I found Decision To Leave absorbing, and stayed with it despite the fact that around the time I like a film to wind up, it lurches into a new act via what’s initially a confusing interlude. I think the English subtitles fail us a bit here – we are told that she speaks Korean in an old-fashioned manner picked up from period dramas, but the dialogue we read doesn’t convey that. While The Handmaiden looked at Japanese-Korean relations during colonialism, here the fact that Seo-rae is mostly Chinese is far from a casual fact about her. Although it’s had a great reception in the West, Decision To Leave has plenty that feels like only a Korean audience is going to fully get. We also see scenes as characters listen to recordings, and the effect is a sensorily dense film.īefore this, Park’s most recent work was the BBC adaptation of John Le Carre’s Little Drummer Girl with Florence Pugh and Alexander Skarsgård, which I liked a lot. Park Chan-wook’s big choice (or gimmick, you might feel) here is to show Hae-joon inside the room he’s watching with binoculars or listening in on, which adds to the dreamlike feel. We spend a lot of time with Hae-joon on stakeouts. It’s quite bleary-eyed, and chunks take place at night.
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But a domestically content character does not a drama make.ĭecision To Leave feels like big, sprawling movie despite only having a handful of characters and not many things happening. He spends his weekends with his wife, who – as the therapised Americans would say – seems determined to put the work in to keep their marriage on track. Unlike the standard set-up for this kind of character, he does have a home life, only it’s not in Busan, where his job is based. I’ve mentioned Hae-joon struggles to sleep. Hae-joon’s colleagues also think he is more interested in her than a case that might not even be a crime merits – why (they ask) would a cop splurge on high-end sushi for someone in the interrogation room? (Hae-joon’s sidekicks are here to provide the laughs.)
Hae-joon thinks that Seo-rae knows more than she is saying. The suspect is Seo-rae (Tang Wei), the beautiful Chinese widow of a Korean immigration official who has fallen to his death while climbing.
The cop is Hae-joon (Park Hae-il), much admired by his colleagues, a man whose attention to detail extends to having his suits custom made with extra pockets so he can comfortably carry everything he could ever possibly need He also can’t sleep. Park Chan-wook does not, I think, there’s anything revolutionary about the fact that Decision To Leave is about a detective who has an unhealthy obsession with the main suspect in a murder investigation. And also: technology allows us to spy on ourselves, with all sorts of potential risks – this has been an aspect of thrillers since at very least Sudden Fear, a 1952 noir with Joan Crawford and Jack Palance so much better than its parodically generic title suggests. That although the words ‘voyeur’ and surveillance imply watching, listening is also very much part of this, as we know from movies such as The Conversation, Blow-Out and Enemy Of The State. In movies about investigations, we the audience are voyeurs watching voyeurs. Here are some things that are not new ideas: movies are voyeuristic. Director Park Chan-wook Stars Park Hae-il, Tang Wei South Korea 2022 Language Korean, Chinese (I think it’s Mandarin) (with English subtitles) 2hrs 18mins Colour
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