Directors in Focus: Kim Sung-soo | Musa: The Warrior (2001)

 Director: Kim Sung-soo

Notable Cast: Jung Woo-sung, Zhang Ziyi, Ahn Sung-ki, Ju Jin-mo, Park Yong-woo, Park Jeong-hak, Jeong Seok-yong, Lee Du-il, Han Yeong-mok, Er Cha Huo, Yoo Hai-jin, Yu Rongguang, Song Jae-ho

Only those on journeys will see the dim roads that lead the way home.

After having crafted two of the most successful films in the '90s about the hot-blooded youth of Korean men, Kim took a surprise turn in the entering the 00s with something quite a bit different: A sprawling period of epic co-production between South Korea and China. In doing so, he created one of the most iconic sword-centric films of the era with the massively successful Musa: The Warrior (2001). He brought his muse Jung Woo-sung back on board to play Yeo-sol, the hero of the picture but also added Korean talents such as Ahn Sung-ki, Ju Jin-mo, and Yoo Hai-jin in one of his first iconic roles. In addition to the local talent, he casts Chinese screen giants Zhang Ziyi and even Yu Rongguang (of Iron Monkey fame). Needless to say, this film had a lot of attention on it from the moment it came out and it ended up gaining the hearts of many fans the world over. I remember seeing this in video stores when it came out when I was heavily into martial arts and wu xia films. Still, my passion for Korean cinema hadn't begun yet, and in fact, I don't believe I even realized its country of origin at that age, but I digress. The point is that this film was rising among hits such as Crouching Tiger, Hidden Dragon , and the two Zhang Yimou films that would follow this: Hero and House of Flying Daggers. I know these films are all Chinese productions and follow more traditional wu xia sensibilities. Musa was more grounded and would inspire local productions, such as Sword of the Moon , and set a trend with more realistic war-centered period pieces.

Fengming, a Chinese Memoir (2007)

Director: Wang Bing

Starring: He Fengming

Continuing my exploration of documentarian Wang Bing's body of works, this time around I gave Fengming, a Chinese Memoir a go, and per usual with a Wang film, it completely put me through the ringer.

A three hour interview with He Fengming, an elderly woman who recounts her harsh life in China after the year 1949, having faced gruelling hardships as a falsely accused rightist during the Anti-Rightist campaign and the Cultural Revolution, spanning more than three decades.

He Fengming

He Fengming went on to write a book on her experience and apparently a reading of said book brought Wang's attention to her and he set out to meet and interview her in the mid-90s, conducting a 50 minute interview, which he would years later add on to, thus giving us the three hour interview we have in its final 2007 released version. It works flawlessly as I never realized a difference throughout.

The style here is remarkably stripped back, even for Wang, with a one camera set up that very rarely relies on a dissolve or cutting technique, mostly happening when He Fengming got an unexpected call on her home phone, or needed a quick restroom break.

He Fengming with her first husband,
and their two sons.

The depth and detail in which the interview explores is no less than heartbreaking and the stories told are exhausting and really wears on one emotionally. The things people went through during this time are beyond wretched and Fengming's own experience was no exception. The loss of family members and widespread famine due to food shortages are just the scratch of a surface that runs very deeply. By the end of three hours, I was a complete mess.

I do wonder if her book was ever translated into English, and I feel I must seek out more on this brave woman. Wang Bing's Dead Souls is the perfect companion piece to Fengming, a Chinese Memoir and I most certainly highly recommend both. I have yet to find a WB film that fails to impress me. Quickly becoming one of my very favorite filmmakers.

Written by Josh Parmer

Have a Nice Day (2017)

Director: Liu Jian
Featuring the Voices of: Yang Siming, Cao Kou, Ma Xiaofeng, Zhu Changlong, Cao Kai, Zheng Yi

In 2010 director / writer / animator Liu Jian become the first filmmaker to create and unleash an animated feature from China upon the world, according to the internet. What resulted was a very dark debut feature film with a sharp social commentary and a bleak and unique animation style, Piercing I. While turning some heads during its initial festival run, both the film and its helmer, Liu Jian fell into an obscurity of sorts.

Seven (eight for U.S citizens) years later Liu returns with the highly anticipated follow-up animated feature, Have a Nice Day, a less dialogue heavy, more visually driven visceral experience that paints a similiar picture to its predecessor, this time his world inhabited by more vivid characters and a bit more budget and technical prowess resulting in a film that while a ride from start to finish, feels a little too familiar for its own good.

Once Upon a Time (2017)

Directors: Zhao Xiaoding, Anthony LaMolinara
Notable Cast: Liu Yifei, Yang Yang

I will admit, I had no clue whatsoever what this film was going in, which is the purest mindset you can go into a cinematic voyage with. I was told "You will be reviewing a big budget Chinese fantasy romance film", and I said "Cool!". As I sat down, and prepared myself for a visual treat, I was immediately sucked into the world, and then spat right back out as I began to realize that the visuals, and everything else for that matter, weren't quite what one would initially think. Confusing? One moment...

Vanished Murderer, The (2015)

Director: Law Chi-leung

Notable Cast: Lau Ching-wan, Jiang Yiyan, Gordon Lam, Rhydian Vaughan, Lulu Li

One of the most disappointing sequels I've ever had the unfortunate pleasure of getting through. I am not sure where to start, so this review may be a bit scattershot, but here we go!

First off, I loved the previous film in this 'Vanish' series, The Bullet Vanishes, but this uninspired sac of crap barely manages to be a cohesive narrative, faltering under its own repetitive mystery that echoes the 1st entry, to the point where you find yourself wanting the film to hurry along and reveal its already exposed self. It is beat for beat similar in too many moments and aspects.