<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
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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!