[일요 시네마] Hong Kong noir ‘Infernal Affairs’ – starring Leung Leung and Yu Deok-hwa

by times news cr
subject:

<무간도>The scene that most strengthens ‌the emotion of fear is the scene in which Jinyoung-in’s identity cannot be revealed due to the death⁢ of Director‌ Hwang Ji-seong. ​Although ⁢Yoo Geon-myeong reveals his⁢ identity ⁣later, ​no⁤ one in the‍ world knows Jinyoung-in’s ⁣true appearance until now. It is ⁣not the ​survival of the organization or‌ the loyalty of ⁤brothers, but ⁤the loneliness of not knowing one’s true ⁢self.‍ <무간도>This is the saddest sentiment. Jinyoung-in receives psychotherapy to heal his ‌mind, but it‍ is of no use. Personally, even though Jinyoung-in and Yoo Geon-myeong, ⁣who are people with​ outstanding‌ intelligence,‌ struggle to find out, the groups ‌and systems surrounding them ⁢do not change. In that it ⁤reveals the‍ loneliness of modern

Impression points:

It’s noir, but ⁤it’s‌ not noir? <무간도>is a masterpiece that ⁤vigorously revived​ the waning ⁤energy​ of Hong Kong noir, but it is not a work in the ⁤same vein as previous Hong Kong⁢ noirs. <무간도>is not as dark as other noir films (rather, it ​is a film that​ intensifies ⁤the tension because it takes place ⁢in a bright ⁢place), and compared to films ⁢categorized​ as Hong⁣ Kong noir, there are no gunfights and there is even no solemn‍ mood. It is everyday,⁤ natural and personal. Rather, it is closer to a modern social drama or‍ melodrama. The modernity shines ⁢even brighter with Christopher Doyle’s photography. For reference <무간도>The⁣ ending is different between the domestically released version and the ⁤overseas released version.

◆ ‌ supervision:

<유위강>

After graduating from high school,⁣ Yu Ga-ryang <십팔반무예>(1982) began his‌ film career as a cinematographer. I built my career in photography rather than directing. ​ <용호풍운>(1987) <열혈남아>(1987) are ⁢his representative works as a ​cinematographer. Director’s debut <의혈남아>(1990), which was produced by Munhoe, ‍Wang Jeong, and others who established the film company⁣ Choi Ga Park Dang. <고혹자> ⁢ He gained fame through the series. <풍운>(1998) ​ <중화영웅>(1999) was a work that ‌received excellent reviews from⁣ both​ critics‍ and box office. Afterwards, he co-directed with Mac⁣ Jo-Hwi. <무간도> ‍ The series once again solidified⁤ its status as a box office ⁣hit maker. <무간도 2 - 혼돈의 시대>(2003) <무간도 3 - 종극무간>(2003) even took charge⁣ of‍ filming.

<맥조휘>

<무간도> Mac Jo-Hwi, who wrote‍ and ⁤directed the entire series, participated in ‍the writing and directing. <무간도>He is also the person who came up ​with the ​original idea. He ⁢is ‌excellent not only as a director but also as a screenwriter. He majored in acting at ‌Hong Kong Academy University and entered the film industry as‍ a director in ⁢1991.‌ <추흉이십년>He made his directorial debut with (1997). It has been officially stated several times ​that “directors John Woo​ and‍ Du Ki-bong ⁤had a great influence”⁤ on the film directing style. Afterwards, Mac ⁤Jo-hwi <남혈인>(2002) <이니셜 D - 극장판>(2005) <상성 : 상처받은 도시>(2006), he attempted to co-direct‍ with ‍Yu Wi-gang again.

EBS1’s ‘Sunday⁤ Cinema’,‍ a programme that shows carefully selected nostalgic ​masterpieces, airs every Sunday at 1:20 PM.

Economy Queen Reporter Kim‍ Kyeong-eun‌ Photo = ⁣EBS ⁤Sunday Cinema

​ .

What are the main themes explored ‌in “Infernal Affairs” that resonate with modern audiences?⁢

Time.News Interview: Exploring the Depths of “Infernal Affairs” with Film Expert Dr. Min-Seok⁢ Lee

Editor (Anna Kim): Welcome to Time.News, Dr. ⁣Lee! ‍Today we’re diving into the acclaimed Hong Kong film, “Infernal Affairs,” which is set to‌ be featured this Sunday on EBS1. As ‌a film expert, can⁣ you start ‍by sharing what makes this film a⁤ quintessential ‍piece of Hong Kong noir?

Dr. Min-Seok Lee: Thank you, Anna! “Infernal Affairs” truly stands out as an exemplary representation of ⁢Hong‍ Kong noir due to⁤ its complex characters⁣ and moral ambiguity. The‌ film encapsulates a tragic tale of two spies—one embedded in the police and the other within the⁣ triads. ⁣Their duality ⁢reflects the strife of identity and loyalty, which are core themes in noir cinema.

Anna: Fascinating! The film⁤ details the lives of Jinyoung-in and ⁣Yoo Geon-myeong, ⁤two characters entrenched⁣ in this web of deceit. How ⁤does their journey represent the broader ⁤themes of modern loneliness and identity crises?

Dr. Lee: ⁣ That’s a poignant observation. ⁤Jinyoung-in, who plays a dual role, grapples with his identity as ⁢he infiltrates the triads. The loss ​of Director Hwang‍ Ji-seong exacerbates his loneliness—no one truly knows⁣ who⁣ he is.‌ This ⁤reflects a⁢ modern sentiment ⁤where individuals feel isolated even within organizations meant to foster camaraderie. It’s a powerful commentary on how societal systems can ⁣fail to ‍provide a true‌ sense⁣ of belonging.

Anna: Indeed, the psychological impact on Jinyoung-in is profound. The article mentions his attempt at psychotherapy, which suggests that the systems surrounding him remain ‍unyielding. Could‌ you elaborate‍ on how this⁣ notion plays into⁤ the film’s‌ narrative?

Dr. Lee: Certainly.⁢ While ‌psychotherapy symbolizes a​ yearning for healing, ⁣it becomes futile in the ‍face of a corrupt⁢ system. Both Jinyoung-in and Yoo⁢ Geon-myeong are portrayed as intelligent individuals struggling for redemption. Their tragic arcs raise important questions about whether one can ‌truly change⁢ their fate in a world defined by power struggles ​and‌ betrayal.

Anna: Now, “Infernal Affairs” is described as not fitting the ⁣typical ⁤mold of noir due to its atmosphere and approach. You mentioned it’s ⁤closer to ⁢a modern ⁢societal drama—how does Christopher Doyle’s cinematography enhance this narrative?

Dr. Lee: Christopher Doyle’s cinematography is⁢ critical in shaping the film’s⁢ tone. Instead​ of relying ⁣on shadows and darkness, he utilizes bright settings which contrast the film’s grim subject matter. This choice amplifies​ the tension ​and underscores the everyday ⁣reality of the characters. The aesthetic plays into the idea that danger lies​ not just⁣ in physical spaces⁣ but also in personal choices and moral dilemmas.

Anna: That’s a compelling insight!⁤ The article also touches upon the variation in the ending between domestic and overseas versions. Do you think this could affect the interpretation of the film?

Dr. Lee: Absolutely. Different endings can ‍resonate differently ‍with audiences based on cultural contexts.‍ A more ambiguous or⁢ tragic ending ⁢might enhance the existential themes prevalent in Hong Kong cinema, while ‌a ⁤resolution could provide a ⁢sense of closure. These variations invite viewers to engage with the film on ‍multiple levels, enriching their understanding of the characters’ journeys.

Anna: Before we ‍wrap up, could‌ you share your personal take on why “Infernal ⁢Affairs” remains relevant ‌today,⁢ almost two decades after its release?

Dr. Lee: “Infernal Affairs” taps into universal⁤ themes of identity, ‍loyalty, and the struggle against corruption.⁣ In a world where ‍personal and societal integrity is constantly challenged, these themes resonate deeply with audiences. Moreover, its ability to blend ‍tension‌ with emotional depth ensures it⁢ remains an enduring influence on both film and culture.

Anna: ‌Thank ⁤you, Dr. Lee! Your insights shed⁣ light​ on the‍ intricate layers‌ of “Infernal ‌Affairs.” We look forward to the film airing ⁢on EBS1 and to understanding more about the complexities ⁤of its characters.

Dr. Lee: ​ Thank you for having⁤ me, Anna. It’s ​been a pleasure discussing this remarkable film!

Anna: And thank you to ⁣our readers for joining us in ⁣this exploration ⁢of “Infernal Affairs.” Stay tuned for more engaging discussions on films that shape our cultural narratives!

You may also like

Leave a Comment