![]() An initial box-office flop, the film's reputation was revived by a Save the Cat campaign led by critics and young audiences. The debut feature of Jeong Jae-eun – one of the few women directors to gain a foothold in the male-dominated Korean cinema industry – Take care of my cat boasts a range of ‘millennial’ special effects, including on-screen text messages and glitter emojis. Starring now-superstars Lee Yo-won and Bae Doona, the film conveys the precarity of leaving home, moving cities, and beginning new careers as young women at the turn of the 21st century. Five high-school friends navigate the uncertainties of early adulthood in the industrial city of Incheon. Join us for the most comprehensive survey of South Korean cinema ever staged in Australia. We traverse a national cinema that looks inwards at local traditions and folklore – for instance, the mythical, matriarchal community of Io Island (1977) – but also reaches out, such as Hong Sang-soo’s comedic collaborations with legendary French actress Isabelle Huppert ( In another country 2012). Playful explorations of gender echo across the series, such as Jeong Jae-eun’s cult coming-of-age tale starring five female friends in Y2K Incheon ( Take care of my cat 2001) and Bong’s brilliant study of the monstrous maternal ( Mother 2009). Don’t miss Kim Ki-young’s suspenseful ‘upstairs downstairs’ 1960s psychodrama, The housemaid, which inspired Bong Joon-ho’s Oscar-winning Parasite.Ī special live performance of Korean drumming will accompany kaleidoscopic shorts by the country’s first feminist film collective, Kaidu Club. To adopt a title in this series, filmmakers have found ‘flowers’ in hellish circumstances, eking out moments of beauty and creative expression from the rubble of postwar Seoul and in spite of strict censorship regimes.įilms in this series lampoon the gap between rich and poor, from a loopy satire of the ascent of corporate capitalism in the late 1980s ( The age of success 1988) to humane portraits of those left behind, such as two billboard painters swinging high above the rooftops of wealthy Gangnam ( Chilsu and Mansu 1988). The film industry has long metabolised turbulent times – colonisation, civil war and successive military dictatorships – into gripping movies notable for their morbid humour, hyper-violence and visceral thrills. South Korea has a deep history of stylish, subversive cinema. These filmmakers merge the pleasures of big-budget storytelling with a gleefully inventive approach to genre and biting social critique. Since the late 1990s, the K-wave or hallyu (한류) – an unstoppable, global takeover of Korean pop culture – has turned directors such as Lee Chang-dong ( Burning 2018), Bong Joon-ho ( Parasite 2019) and Park Chan-wook ( Decision to leave 2022) into household names. From a rare 1940s wonder to golden age noir and recent landmarks on 35mm, Flowers in hell brings together over 20 titles from one of the most vital film industries in the world. Meet squirming octopi, avenging heroines and early K-pop stars in this retrospective of South Korean cinema.
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