Who can tell us something about Korean director Jin Jide?

French media praised the Korean director who studied in Paris, saying that since Bowing, Jin Jide has continued his calm style of taking care of other emotions. However, some critics point out that, to some extent, the bow has almost become a companion piece of Jin Jide's drift room. "Whether it is the choice of scenes such as the sea and ships, or the bloody cruelty on the screen, we still seem to see the theme of using physical pain to achieve spiritual pleasure in Drifting Room." Jin Jide started with a marginal theme, and since 2002, The Shoreline has attracted international attention. The Girl in Samaria won the Silver Bear Award at the Berlin Film Festival in 2004, and The Empty Room, with controversial Korean actress Lee as the heroine, won the Best Director Award at the Venice Film Festival. Marginal figures, sex and violence have always been the themes of Jin Jide's films. Bow, the opening film of "One Concern" unit in Cannes, was written and directed by Jin Jide, which is also closely related to these themes, and has many similarities with The Empty Room. First of all, there is little dialogue. The hero and heroine in the film have almost no language communication and no names. The leaflets only call old people, girls and college students. In addition, the scene of the heroine hugging and eye contact with the invisible lover in The Empty Room has become more and more fierce, becoming a scene of girls and old people. Furthermore, the violent tactics of golf attacking people in an empty room evolved into a scene in a bow, and the old man aimed his bow at all men who wanted to hit on girls. After the screening, the reporters agreed that the next breakthrough of Bow was not limited.

After the film screening, Jin Jide briefly introduced the creative intention of Bowing. He said: "Everyone has unfulfilled wishes and hopes, and usually everyone hides these wishes." What I want to show is how despicable, noble, sad and beautiful these hidden wishes are. So talk about the desire of the elderly with an uncontrollable girl. "Jin Jide also explained the triple meanings of the weapon" bow "in the film-a powerful killing weapon to stop intruders, an instrument to express the voice of the soul, and a language to convey the relaxation of inner feelings.

Telling stories with smooth shots and actors' movements and expressions, Jin Jide followed the consistent practice of Europe and movie master, and abandoned the "lines" in the ordinary sense to construct films. As a result, his movie "Winter Gone and Spring Came" grossed $800 million in the west, but only $50,000 in South Korea. "I think it is easier for western audiences to accept my films. So I try to reduce the dialogue in the film, because I am afraid that the wrong translation will destroy most of my works. I believe that crying and laughing are already the best language. However, if I have another chance, I want to try to make a movie composed entirely of dialogue one day. The older you get, the less you believe what others say. But there is no lying in human activities. They are all honest, regardless of whether these behaviors meet the standards of right or wrong. "

It took Jin Jide only 65,438+07 days to complete the bow.

Jin Jide (196065438+February 20th-), a famous Korean film director. His films often jump out of the box of commercial films, making him a very unique director in the world. In addition, his film themes often shock the audience and lead to thinking about life.

In 2002, his "Shoreline" became the opening film of Busan International Film Festival. In 2004, he won the director award of Berlin Film Festival for "Longing for the Sea and Sailing Kindly", and won the director award of Wayne Film Festival for another new work "Empty House" in the same year.

List of works

1996- crocodile (? )

1997- wildlife reserve ()

1998- Quelong Inn (meaning "Blue Gate")

1999- drifting room (? , which means "island")

2000- Real Life ()

200 1- love letter (? , that is, "the recipient is unknown")

2002- mud lover (also known as "bad guy")

2002-coastline (opening film of Busan Film Festival)

2003- Spring, Summer, Autumn and Winter ()

2004-I want to be kind to the sea (Samaritan, director of Berlin Film Festival).

2004-? (The Meaning of Empty House starring Li Chengjuan won the director award of Winnie the Pooh Film Festival)

2005-Bowing

Korean film UFO over Europe

1960 65438+On February 20th, Jin Jide was born in Fenghua County, Gyeongsangbuk-do, and grew up in a small mountain village in an underdeveloped area. Jin Jide had a gift for painting when he was a child. His father is a veteran who experienced the Korean War, and his mother is just an ordinary housewife. At the age of 9, his family moved to Seoul, and Jin Jide studied in an agricultural technology school. Before graduating from high school, he dropped out of school and walked into the factory, where he spent his youth.

At the age of 20, Jin Jide was drafted into the army. Five years later, I was discharged from the army, got a job in a church and insisted on painting. From 65438 to 0990, Jin Jide went to France, studied fine arts in Paris and made a living by selling paintings. After two or two years, I returned to China and began to try script writing. 1993, his play The Painter and the Death Penalty won the Best Screenplay Award of Drama Education Association. 1994, "Second Exposure" won the Best Screenplay Award of Korea Film Committee, and "Illegal Crossing" won the award again the following year. These awards enabled him to raise funds to shoot his first film, Diary of a Crocodile Hiding a Body, on 1996, and he embarked on a career as a professional filmmaker. Surprisingly, he didn't receive any formal education about film or art before.

1997, Jin Jide's second film City of Animals was released. He was selected for the first time at 16 Vancouver International Film Festival, which is also one of his semi-autobiographical films. The following year, Quelong Inn successfully entered Europe and exhibited at eight international film festivals, including Berlin Film Festival.

1999, Room Drifting Desire was selected as the competition unit of Venice Film Festival. His shocking images caused an uproar at home and abroad, and he himself was unanimously considered abnormal, vulgar and obscene. The following year, Jin Jide released his experimental work The Truth and set up his own film company. In 200 1 year, he was once again shortlisted for the competition unit of Venice Film Festival with "Nobody", but it was still controversial. In 2002, Jin Jide's image language became more and more perfect. His most important work, Bad Boy, was shortlisted for the Berlin Film Festival twice, but only won the art award and the actor award. In the same year, he persuaded the idol star Zhang Dongjian to star in his low-budget film The Shoreline. This film was also selected as the opening film of Busan Film Festival in South Korea.

In 2003, Jin Jide released another spring of spring, summer, autumn and winter. This is also the only film he doesn't "offend". This film was selected as one of the top ten best films in Korea that year, and it was fortunate to represent Korea in the 2004 Oscar for Best Foreign Language Film. Naturally, however, he withdrew from Sun Shan without even being nominated. It can be said that Jin Jide's works exude a strong pessimistic tone, which is what Oscar hates most.

In 2004, Jin Jide went to Berlin Film Festival for the third time with Samaritan Girl, and was finally awarded the "Best Director Award". Although this is not his best work, he won the prize at least two years late.

Jin Jide is already an over-hyped name.

In the past seven years, Jin Jide's works are all about abnormal love, vendetta, loneliness, despair, humbleness and humiliation. From obscurity to the world.

Fame, from never being shown to being frequently invited to first-class film festivals. Jin Jide has successfully reached out to the public. However, what he got was a few praises and a lot of disgust and incomprehension. The attitude of the international film circle towards him is basically the same. Those who watched Jin Jide's films in China and were willing to stand up and comment also accepted and adopted the existing comments. The oversimplified view makes people doubt that at least how many people have carefully read his old works before such a noisy discussion. As far as Jin Jide is concerned, all articles will use a series of the most pervasive and ingenious words, such as violence, boldness, cruelty, blood, otherness, marginality, eroticism and surprise. Audiences and film festival judges are waiting for every work of Jin Jide with more curiosity and anxiety. Inexperienced people simply go directly to the bloody scenes and the third-grade films to find Jin Jide movies. The internet has contributed to this rumor. People often describe in various forums what they have blocked in these films. So, when the word spread, it became more and more popular. Jin Jide finally became famous, but the situation was embarrassing enough. On his face, there are one after another extremely fancy but irrelevant labels on the left. Now, "Jin Jide" has become an excessively smeared name, which is beyond recognition. Just like Zhang Dongjian's face on the coastline, it has been "disguised".

The public outcry began at 1999 Venice Film Festival. As a competition unit film, "Gone with the Wind to the Room" officially competed for the Golden Lion Award. This sadistic film with beautiful pictures and painful expressions obviously carries a lot of weight. But perhaps because it obviously violates the public's viewing experience, this year's film festival "Gone with the Wind to the Room" only won a small peripheral award from NETPAC. Then the film made a certain box office success in Europe. A more cordial evaluation is: "Jin Jide is not fully understood, but he is a genius." Perhaps it is because of the initial impression left by wandering that Europeans are obsessed with Jin Jide. In the following two years, unknown recipients and bad guys were invited to the west one after another. Various statements about Jin Jide came into being. A large number of film reviews and analysis full of surprises began to flood into the media. Generally speaking, it describes the so-called "cruelty and fierceness" in Jin Jide's films. Therefore, Jin Jide has been mentioned many times with the Japanese active and weird Sanchilong. Apart from some praise, there are more and more criticisms. Feminists especially hate Jin Jide. He is often accused of being "sick" and "boring". Jin Jide, as one of the most famous directors in major film festivals in the past five years, failed to win a gold medal. This result shows that although he was popular for a while, his works only aroused curiosity rather than understanding. Every time he picks up some consolation prizes prepared for him by Sundance, Brussels, Montreal and Fantasy Film Festival, he immediately goes back to Korea to prepare his next film.

To make matters worse, Jin Jide's sincerity has been seriously damaged. Regarding all kinds of accusations, he explained: "These criticisms are precisely the uneasiness of the mainstream facing the non-mainstream." However, the media misinterpreted and distorted his remarks again and again, and the inarticulate Jin Jide once refused all interviews. The publicity of busybodies is getting more and more exaggerated, and even many quasi-pornographic websites provide download links of Jin Jide movies. It is obviously wise not to make excuses in this case.

Jin Jide truth

Through Jin Jide's films, the speculation about him will naturally depend on the image style. It seems natural and reasonable that Jin Jide should be cold, gloomy and serious. This time, there have been some deviations.

Jin Jide has always been kind and shy, and she is very cautious about what she says to the media. Always wear a dark cap and sometimes carry a shoulder bag when attending various occasions. The famous Korean director has never received any film-related education. It seems that he doesn't need it either. It seems that he was born to make movies.

1960 Jin Jide was born in a village in Fenghua County, Gyeongsangbuk-do. The local area is mountainous and underdeveloped, just like the story background of The Unknown Recipient. In his childhood, he was naughty and active. He often hurt his companions while playing and made all kinds of novel toys. When I was 9 years old, I moved to Seoul with my parents and studied in an agricultural technical school. A few years later, my brother was expelled from school and Jin Jide was forced to drop out of school. At this point, he completed all his formal studies-graduating from primary school and dropping out of junior high school. Jin Jide has worked in many factories. At the age of 20, he enlisted in the South Korean Navy. He served for five years and was a non-commissioned officer. This unpleasant military experience provided all kinds of details for the coastline. After leaving the army, due to eye diseases, Jin Jide hid in the church for two years, intending to be a priest in the future, while insisting on painting. 1990, when he could afford a plane ticket, he immediately flew to France to study art in Paris and make a living by selling paintings. During his years in France, Jin Jide learned a lot and gradually changed his past literary views. /kloc-returned to Korea in 0/994, and wrote plays such as "Painter and Death row" and "Illegal Crossing" in a short time. Because of his outstanding performance, he won the competition prize of the Film Promotion Association, and raised funds to complete his debut novel "Diary of Crocodile Hiding Bodies" on 1996.

Jin Jide's plays are largely related to personal experience. His father fought in the Korean War and was shot, especially in Jin Jide. Jin Jide's going to France has a lot to do with avoiding his father. Mother is a woman who can only do housework but can't read. Jin Jide has a scar on his left thumb, which was left by his homemade gunpowder when he was a child. It seems that all these materials show that The Unknown Receiver is closest to the real life in Jin Jide. Indeed, he also talked about this in an interview.

His unique knowledge structure and early experience make his expression obviously different from that of scholar-type Korean directors such as Li Cangdong and Hong Shangxiu. It should be said that the novelty and formal beauty of the script are the strengths of Jin Jide's works. Drawing since childhood, a solid foundation enables him to arrange the pictures as beautiful as works of art, and his plot development is always unconventional and full of accidents. Without exception, the protagonist has suffered misfortune, and his fate has been sinking to the end, leaving no hope and not catering to the psychological expectations of the audience, but it is also reasonable.

After The Bad Guy was released, some people criticized the plot, saying that it was unacceptable and immoral to turn a female college student into a prostitute. Jin Jide explained with difficulty in many interviews: "I didn't turn this girl into a prostitute. I am afraid that the problem lies in our society itself. " . "In Korea, people often judge a person according to his education level and social background. That's why they were offended by the misfortune of that female student. What I want to do is to erase the division and boundaries of this society.

Jin Jide is more concerned with the causes of the tragedy and various characters neglected by the public. He has great respect for women. In this way, Jin Jide is actually extremely compassionate and vulnerable. Far from being characterized by the media.

Seeing Jin Jide with curiosity and superiority is like visiting a zoo, which is really cruel.

1996 crocodile/crocodile diary

1997 City of Beasts/Wild Animals/Wild Animals

1998 "Quelong Inn/Child Prostitute/Under the Erotic Roof/Bird Inn"

1999 drifting room/water hotel/island

The truth in 2000

200 1 "Love Letter with Unknown Recipient/Call Back/Address"

200 1 bad boy/muddy lover/crazy foreigner/bad guy

2002/Coast Guard

In 2003, spring, summer, autumn, winter ... and spring.

Samaritan girl/angel of help/Samaritan girl in 2004

Vacant Room/Lover Room/No.3 Iron in 2004

Bow/Bow in 2005

1996 crocodile: The hero is a shameless person. He has a beautiful secret room under the Han River. He hid the body of the drowning man and extorted money from the family of the deceased. Although the work itself is successful, it has little influence.

1997, Jin Jide's second film City of Animals. He was selected for the first time at 16 Vancouver International Film Festival, which is also one of his semi-autobiographical films.

Child prostitutes (1998)

This film tells the story of a good family who voluntarily becomes a prostitute. In Bird Inn, Zhenhua, a 23-year-old prostitute, subverts a family and a hotel, creating a moral problem for everyone who comes into contact with her. Finally, the pure Hui Mei also sold her virginity like a pilgrimage. The male characters are all in a mess, perhaps it is the victory of women in this 100 minute. At that time, child prostitutes participated in at least eight international film festivals. The famous ones are the Russian International Film Festival and the Berlin International Film Festival (as the opening films of the panoramic unit). Although there is no substantial honor, the western judges will not forget this Korean name soon.

The Truth (2000)

Two men with violent tendencies met in the movie. The painter discovered the distortion and boredom of life under the guidance of a mysterious woman, and he took revenge on the people around him.

Jin Jide, another character in the film, was encouraged by his identity when he watched the stage play. A subjective lens followed his subconscious footsteps, monitored his every thought and recorded it. After a journey of consciousness, the protagonist returns to reality and realizes that Seoul has not changed at all. Jin Jide explained: "Movies will not change the reality, but only the individual's ideology." According to the outline of the script, he used 18 cameras to shoot the whole movie in 200 minutes, and thought it was a successful attempt, and he also needed to apply the method of multiple leading roles to every movie in his future.

The related pictures of this theme are as follows:

Floating towards the room (2000)

Jin Jide seems to be partial to this kind of sadistic and rebellious story. Later, he made Bad Boys, a movie that is still unimaginable. In Gone with the Wind to the Room, fugitives will use wire cutters as hooks to make various toys and swallow them when the police chase them. When the man was about to leave her, Sargam inserted a string of fish hooks into his private parts and pulled them out cruelly. The strange sight of self-suffering is surprising. And their cure is * *.

Photography is an ink landscape, and music makes people feel excited. However, the internal force is surging with unspeakable dark sexual desire, which is the complex and mysterious image texture of this film.

Love letter from unknown recipient (200 1)

In the limited time and space, Jin Jide listed a complete vulnerable group who was bullied and hurt. Its hero is tragic and frightening. South Korea in the 1970s was the worst time for Jin Jide. No one can live comfortably in a hell on earth.

Bad boy (mud lover) (200 1)

This semi-abstract film, which subverts traditional images, has brought Jin Jide's aesthetic taste and life concept to the extreme. To be exact, this is a love movie, which is about a shocking and abnormal love that transcends class identity.

The ingenuity of the director's arrangement is that it was not until the end of the story that we discovered that the hidden hero was dumb, but in the film he controlled the development of things and the fate of the characters. This is a male-dominated film. The story wants to tell the audience that girls don't have to be too lofty. In fact, you are just a born prostitute.

Coastline (2002)

Through the tragic fate of the two protagonists in the film, Jin Jide accused the ruling clique of the military government of cruelty and hypocrisy for the sake of interests, and described a collective madness of human nature under the division of the Korean Peninsula.

Jiang, stationed on the coastline, is responsible for the destruction of a body and a soul. Britain and America, who lost their lover, are looking for her man Inge along the coastline that left her painful memories. She regards every soldier here as her own family. Although her mental trauma has not healed, she will continue to suffer physical abuse. The United States and Britain follow every soldier like comfort women until they get pregnant. Then the barracks became an operating table. The terrible abortion was performed naked in broad daylight. At the same time, Jiang Ye is the object of injury. When the essence of his conscience woke up, it had completely deviated from the interests of the military, so the government did not hesitate to push it out of the circle. Jiang is the object of being cheated. His initial behavior only stems from the unconditional implementation of policy norms, and he is just doing his duty as a soldier. It's a pity that he can't deceive himself in the circle of human self-blame, which makes him lose the protection of the government and even the right to be a soldier. Jiang lost his soul and walked across the street like a walking corpse, attracting bustling onlookers. At the moment, he casually stabbed the bayonet into the abdomen of an innocent man who was laughing.

Another spring in spring, summer, autumn and winter (spring goes to spring/spring, summer, autumn and winter/monks settle down) (2003)

Director Jin Jide's work style has always been bold and unique, and this film is no exception. The content alone is already strange. A Buddhist story featuring a monk is mixed with naked sex and violence. The film seems to be a Buddha telling the story of life. The last shot is quite meaningful. The Buddha statue on the top of the mountain just looked at it quietly, as if staring at all the joys and sorrows in the world. ...

The Girl in the City of Maria (a girl in Samaria/a girl who wants to sail in the sea/a crying wasteland/an angel who helps a friend) (2004)

This is a pornographic film directed by Korean director Jin Jide. The Girl in Samaria once again targets men and women who are prone to abuse. Different from Drifting Bathroom, the story of this film takes place in the city, and many indoor love pictures are very charming. The erotic and compassionate girl of Samaria won him the best director award at the Berlin Film Festival.

Vacant Room (Vacant Room Temptation/Sensory Paradise) (2004)

Jin Jide's works have been difficult to be accepted by the mainstream in South Korea, and this time, The Empty Room found Li Chengyan who was criticized in the "comfort women incident" as the heroine. However, Jin Jide won the Silver Lion Award for Best Director for this film. The Empty Room is more "normal" than any of Jin Jide's previous films, and it also breaks many of his conventions. Men stop killing people, women stop prostitution, and the picture is not so bloody. The compactness and smoothness of the picture will never produce a dull and lengthy feeling, but will make people more involved in the plot.

Bow (2005)

This year, Jin Jide once again participated in the "One Concern" unit in Cannes with his new work "Bow". The film tells the story of a 60-year-old man and a 16-year-old girl living in the same boat. He intends to marry her when she 17 years old and take her away from this world. Then, people came to the boat to fish, and at the same time, they met a girl who had never lived at sea and became interested in city people, while the old man became nervous and surly. This film is a bit like his drifting bathroom, full of extreme colors. Jin Jide also said in an interview that he was obsessed with this state of pushing human nature to the extreme.