Quantic Dream thinks of to experiment with formats that are more brief in future projects
There are very few arguments —none— with which to rebut the opinion of the movie produced in South Korea is, and has been for a long time, one of the best that can be enjoyed regardless of gender and claims; shining both in some approximations to the blockbuster that take the colors to the large american studies as well as in your facet as author, of a delicacy and intensity in a unique way.
however, neither is, nor can it be gold that glitters; resulting in ‘Burning’, the last work of the prestigious filmmaker Lee Chang-Dong — praise your way through the latest edition of the Cannes film Festival— an unpalatable experience of two endless hours and a half in length, that could well qualify as a soporific act of onanism from an author so in love with himself as his work.
Before anything, it is worth mentioning that the frame which makes the viewing of a feature film is, in many cases, of vital importance to form an opinion about it, and it is more than likely that the experience of having suffered from ‘Burning’ during the Festival of Sitges —where it is out of place, and especially within the Official Section— it has influenced in my final perception about it. Although, regardless of all this, the tape suffers from serious problems outside the environment of its projection.
it Is of receipt to remark the significant achievement, this adaptation of the story ‘Barn Burning’ of the writer, japanese Haruki Murakami, and that they are concentrated in an invoice technique, and a realization splendid that stimulates the retinas of the respectable with some beautiful images and captivating and, above all, in a few characters enigmatic —although wasted— which makes the first half of the film in an experience truly magnetic.
But once it exceeds the equator of ‘Burning’, the new Lee Chang-Dong makes detectable the passing of time in the stalls —which is not a good sign—, by making patent the feeling that the overly long history of Jongsu, Haemi and Ben —played by some solvents, Yoo Ah In, Steven Yeun, and Jun Jong-seo— not going anywhere. Something that is accentuated thanks to its taste for fragments more poetic and delivered to the metaphor of audiovisual cross that fine line that separates the intelligence of the bluff.
it Is especially infuriating that ‘Burning’ do not offer virtually not a single answer to their, a priori, intriguing puzzles, during a third act stark, sudden and unfinished. An option clearly voluntary, which many will know to relish such as is due but who, in the eyes of this observer, does not cease to be the last straw to a desperate and never-ending disappointment within the first division of the film industry in south korea.
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The news ‘Burning’: a beautiful but soporific exercise of an author in love with himself was originally published in Espinof by Victor Lopez G. .
October 14, 2018
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