If you’re curious about what a Korean Woody Allen film would be like, Yoon-ki Lee’s My Dear Enemy makes a fine case study.
One thing I like about Korean movies are, they seem to know all the way to make people cry with a smile. Novelists primers at The MillionsMy introductions to the most adventurous, innovative contemporary novelists I know, hosted at exemplary literary site The Millions. The Ubuweb Experimental Video ProjectMy experimental video writeups, now hosted on — wait for it — Ubuweb. Barely LiterateA podcast book club where panelists from all over the place discuss all manner of literature. The Marketplace of IdeasA public radio show and podcast about books, commerce, culture, and fascinating concepts. Begun in 1971, AFIFest takes place in the epicenter of Hollywood and is in a position to cherry-pick some of the best titles from the festival circuit. Programming: A conservative selection of highlights from the film festival circuit interlarded with  high-profile galas featuring Oscar hopefuls and a smattering of revival fare programmed by celebrity curators. Many international filmmakers are drawn to the festival by its Hollywood location as well as by the opportunities for distribution deals offered by the concurrent American Film Market event in Santa Monica. The 2009 festival was moved from the Hollywood Arclight to the  nearby Grauman’s Chinese Theater and its attendant Mann 6 multiplex. Hollywood is undergoing a Renaissance with new buildings and restorations in progress all around. Guest curator Pedro Almadovar’s thoughtful, detailed introduction to Le Cercle Rouge. Unexpected Pleasure: The poignant portraits of children deeply affected by the messy lives of the adults around them in The Past.
Unexpected Pleasure: An ear-opening presentation on the new Dolby Atmos sound system by industry pros Erik Aadahl, Will Files, and Skip Lievsay. Finely calibrated performances from Charlotte Rampling and Tom Courtney in 45 Years, directed by Andrew Haigh. In acest film vedem in actiune doi mari actori coreeni foarte cunoscuti si apreciati atat de marele public cat si de critici dovada fiind numeroasele premii primite in intreaga cariera cat si pentru rolurile din acest film. Despre asta e vorba in film: durerea unei femei care a pierdut tot ce conta , revolta si efortul de a o lua de la capat. Reproducerea partiala sau integrala a acestor informatii, fara acordul scris prealabil al titularului este interzisa. Utilizatorii au dreptul de a utiliza informatiile existente pe site doar in interes personal. On Demand Weekly provides new movie reviews of hot movies on demand from the POV of watching from the comfort of your home. Jeon Do-yeon won the prize for Best Actress there and SECRET SUNSHINE has been submitted as the official Korean submission for Best Foreign Language Film for the Oscars. Suddenly she’s faced with new tragedy, her only friend, a kind misfit who works as a mechanic (played by the inimitable Song Kang-ho) stands by her side, trying to love her and give her some hope, some salvation in the senseless of what life has offered her. The fact that IFC Films gives same-day OnDemand as theatrical release is an incredible gift and I think few of us realize in fact how great it is. On a final note, there was a long lapse between Chang-dong Lee’s last work OASIS and SECRET SUNSHINE. I say this because it’s a human-scale comedy of relationships that’s nevertheless curiously expensive-looking. Your best North American option for recent international fare–if you can tolerate standing in long lines for hours on end and then being turned away from the screening you wanted to see. The event attracts important guests from both the international film community and the Hollywood glitterati.

Many have a high degree of movie literacy, which makes for provocative Q and A sessions with filmmakers. Though not quite as ideal as the Arclight, the Grauman’s complex nonetheless boasts superb screening facilities, comfortable seating and excellent sightlines. At first, the policy worked fairly well, but by 2013 it had imploded, giving rise to endless waits in long lines, which sometimes culminated in many patrons being turned away from screenings to which they had tickets or passes. A grungy honky-tonk factor persists, however, especially along Hollywood Boulevard, where tour hawkers compete for space with faux Chewbaccas and Snow Whites who will take photos with tourists for a fee. From Hollywood, you can use the subway  (yes, LA has a subway) to get downtown or to Universal City. A good budget option, located on a quiet street just behind the Hollywood and Highland Center.1775 Orchid Ave, Los Angeles, CA 90028. Guides have a tendency to go off on tangents about haunted sets and other unenlightening trivia. Perhaps the most personal and uncompromising filmmaker of the Mexican New Wave, Carlos Reygadas has produced a haunting Dreyer-esque study of life among Mexico’s Mennonite community. A droll, formalistic piece of cinematic minimalism by the young Mexican auteur Fernando Eimbcke. More navel gazing from Hong Sang-Soo, Korea’s answer to Eric Rohmer, but more cleverly constructed than some of his other efforts.
One of the best of Jean-Pierre Melville’s existentialist police thrillers highlighted by a truly scary rendering of delirium tremens by  Yves Montand. Wim Wenders’ documentary  tribute to choreographer Pina Bauche takes dance films to a whole new level with its dramatic settings and bravura camerawork.
Iranian auteur Asghar Farhadi (A Separation) scores again with a wrenching study of the tangled lives of immigrants in Paris.
First time director-writer team Yuval Adler and Ali Wakad have crafted a gripping, even-handed thriller about the Mossad’s relations with Palestinian informants. The Dardenne Brothers score again with a heartbreaking tale of an emotionally fragile  woman whose co-workers are maneuvered into voting her out of her job. Mauritanian auteur  Abderrahmane Sissako ‘s poetic vision of a remote African village taken over by a ragtag jihadist group.
Chantal Akerman’s posthumous documentary is ostensibly about her relationship with her dying mother, but it comes across as a rationale for her subsequent suicide. In film sunt urmarite eforturile ei de a gasi un motiv pentru a trai o noua zi si de a duce o viata normala. Un film despre oamenii obisnuiti care poate traiesc alaturi dar noi nu le stim durerea si nici efortul cu care merg mai departe. She is a writer and Sr Programming Manager for [ ITVS], overseeing the International Initiative for funding in their SF office. It also has a jazz score — more of a jazz score than I’ve ever heard in an East Asian movie, anyway — composed by a Korean, but recorded by American players in Massachusetts. Jeon won Best Actress at Cannes in 2007 for her portrayal of a woman who turns to Christianity after loss and finds it wanting as well. In 2009 the festival, like many other cultural events, was radically scaled back to 57 films from 100 screened in 2008. In addition, if you like glitzy premieres, the glam quotient of Hollywood royalty here is high. Some screenings are also held at the nearby Egyptian Theater, and a few events take place in the Dolby Theater, next door to the Mann multiplex and famed as the venue for the Oscars.
In 2015 AFI members got passes that allowed them to skip the step of ordering tickets on the jammed website–but passholders still had to get in line.
Do-yeon Jeon won a well-deserved acting prize at Cannes for her portrayal of a young mother beset by pain and loss.

Were these people were the kind of  Iranians  who recently concluded that a sybaritic lifestyle was no longer sustainable in view of the situation in the country at large and decided to turn their energies to political protest rather than petty pleasures?
Se alatura unui grup de credinciosi care ii ofera sprijin si compasiune si langa care gaseste linistea si echilibrul de care avea nevoie. These may sound like the ingredients of one big mismatch, and maybe they are, but at least the feel is distinctive.The jauntily shifty Byung-woon, a hoodie-and-sportcoat-clad layabout who’s also quite hardworking in his layabout’s way, gets an unwelcome visit from Hee-soo, his frowning ex-girlfriend.
A wrenching descent into madness or the resistance of a sturdy soul against whatever may come?
The film does not try to answer this question but clearly raises it by focusing on the disastrous consequences and moral quagmires that follow from irresponsible behavior. Pentru a se elibera de trecut grupul de credinciosi o incurajeaza sa mearga la inchisoare si sa acorde iertarea ucigasului fiului ei. She’s come to collect an outstanding loan of 3.5 million won — only like $3000, but still — and, by some miracle of intuition, knows she’ll find her debtor at the racetrack.
As they should.I instinctively want to see a tale like thus told on the cheap, maybe with stolen 16mm footage on unsuspecting public streets or in one long take on standard-definition video.
Alas, Lee went with what I would consider a high gloss, peppering the film with bothersomely expensive-looking shots. This isn’t much of a complaint in the scheme of things, but a form-substance mismatch is a form-substance mismatch, however slight.I recently asked a Korean film critic what I consider the prime question of that nation’s cinema: how on Earth do Korean filmmakers pull off so much melodrama so unobjectionably? Answers have always varied, but one common response is that melodrama is so deeply ingrained in Korean culture that, by now, they can actually execute it with some degree of subtlety and respect for the audience.
It’s got a dead baby in the first act, a hellish conflagration in the last, an act of penitential suicide to finish it off, and the running theme of friendship’s honor tested by some of the most harrowing circumstances imaginable.
I’m beginning to sense that this might be the predominant theme of modern Korean narrative: once forged, and no matter how abused or neglected, the bond of friendship — as well as all its attendant balance sheet — is escapable only in death, and maybe not even then. But this one emphasized one quality in particular to me: when Korean dudes are tight, they’re tight.
This might be a mandatory-military-service-country kind of thing, and indeed, Jae-moon and Ye-joon, the buds in question here, met during their two years in the ranks.
Jae-moon becomes an entrepreneurial fried-chicken cook (which is a thing you can be in Korea) with a pregnant wife, while Ye-joon becomes a lonely stockbroker.
But this class and lifestyle divergence don’t mean nothin’; one comes immediately whenever the other calls, even if it means putting hold important tasks like, uh, sex. Glorious third-trimester sex.Lee proceeds to put this friendship to the test and then some, but my strongest reaction wasn’t so much to the ensuing near-Greek moral struggle as it was to the relationship itself. All ready for that flood of virtuous feeling that can only come from turning the other cheek to those who have done you wrong, she finds that the one who’s done her wrong has, himself, converted — and claims to have already gotten word of his being forgiven, straight from the Man Upstairs. Hence the short turnaround time between Shin-ae’s first religious epiphany and first religious crisis.I’ve long been fascinated by the hold Christianity has taken in Korea.
From the outside, the country can at times look like one big megachurch, but, as I recall, only about 30 percent of the population actively subscribes to the teachings of Jesus and Company. Parts of Secret Sunshine seem to offer a commentary on this along the lines of “easy come, easy go,” but I’d be hard pressed to draw out an overall judgment on the religion. The group that draws Shin-ae in — or welcomes her in, if you see it that way — comes off more than a little loony, expressing their zeal through that distinctively unconvincing aesthetic, hollow plastic-y grandeur. Lee refuses to resolve her issues with faith, fate, and fatality, which is only good filmmaking, since they’re inherently irresolvable.

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  1. 02.08.2014 at 10:33:43
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    TeK_BiR_GeCe writes:
    Mahasi Sayadaw ( biography here ), whose teaching.
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