[영화뉴스]  곡성 칸 영화제 프레스 반응.twt

● 디피인들은 영화의 호불호에 관한 타인의 취향을 존중합니다.
● 영화의 반전이나 결말 등에 대한 정보가 본문에 포함될 경우, 반드시 게시물 제목에 '스포일러'라고 표시를 해주세요.

대체적으로 미친, 우울한 광기, 자신이 본 한국영화 중 가장 좋거나 미친 영화라며 호평하네요! 황정민과 아역 김환희 배우 연기도 좋은 평을 받았네요 :) 

Justin Chang ‏@ Justin Chang (버라이어티 잡지 비평가)

THE WAILING (Na Hong-jin): Beautifully observed, low-key humanism at its finest. Can't wait for the Dardenne brothers remake

no cannes do ‏@whocaresdad 

#Goksung #TheWailing #TheStrangers was INSANE. Pinnacle of Korean cinema. Get that little girl some awards. #Cannes2016 @Festival_Cannes

Eli Hayes ‏@HayesEli  

#Goksung AKA #TheWailing has to be one of the best/most insane Korean films I've ever seen. Melancholic madness. #Cannes2016 #TheStrangers

#Dejdamrong4TUF24 ‏@Max_DavisJr   

If you've seen The Chaser or The Yellow Sea by Na Hong-jin, you know The Wailing will be terrific

 FilmLand Empire ‏@FilmLandEmpire  

GOKSUNG is majestically evil, like a beautiful gangrene. The genre-tastic tonic I needed in my life, loved it! #Cannes2016

FilmLand Empire ‏@FilmLandEmpire  

GOKSUNG is darkly funny at times, but dead serious when it needs to be. So beautifully shot too #Cannes2016

 Damon Wise ‏@yo_damo  

Murder, mayhem, mushrooms, sorcery, zombies, demons and Hwang Jun Min - Goksung just gave me my first real #Cannes2016 high 

Simon Kinnear ‏@kinnemaniac    

THE WAILING: Absolutely freakin' crazy. So OTT that nearly *every* scene tips over into enjoyable, exhausting, excess. #Cannes2016
  

아래 이 분은 시작 전   곡성 칸 프레스 시사회 전 관람석 사진을 올린 분인데 보고 난 뒤 장르영화 왕에게 무릎꿇어라며 극찬하네요ㅋㅋ 

Jason Gray ‏@jgtokyo   

Just half of the crowd here to see Na Hong-jin's "The Wailing" (Goksung). My most awaited film of #Cannes2016 

Jason Gray ‏@jgtokyo   

Good Lord of genre cinema...

All bow down! 

스크린 데일리에서도 지난 언론시사회때 곡성을 이미 관람했고 깐느리뷰를 며칠전에 썼어요!

최근 한국영화중에서 가장 최고 중 하나이며 굿 장면등을 칭찬하네요 :)

'The Wailing': Cannes Review

 By Jason Bechervaise 

Renowned for his relentless storytelling, Na Hong-jin takes The Wailing to a new level, confirming his place as one of Korea’s leading contemporary filmmakers. Its sheer intensity and ambiguous narrative might put off some viewers, but this latest film - set in a village where people start to mysteriously die when a Japanese stranger appears - could well be regarded as one of the best films to emerge from Korea in recent years.  


The film premiered in Korea on May 11, a day earlier than planned owing to favourable critical reaction following the press screening in Seoul. Its fiercely dark tone could potentially limit a wide box office appeal, but positive word-of-mouth will give the film legs, while publicity regarding its Cannes international premiere and the star power of Hwang Jung-min (Veteran) should help internationally. (The Wailing is set for a North American release on May 27 through Well Go USA.) Produced by Fox International Productions as opposed to a major local studio, The Wailing could provoke discussion about the studio system in Korea, which has changed considerably since the peak of contemporary Korean cinema in the early 2000s.


The film is set in a rural village in the area of Goksung (the film’s local title), which also means ‘wailing’ in Korean. It starts out with a string of unusual deaths, all preceeded by red boils and aggressive behaviour. Local officers including Jong-gu (Kwak Do-won) are perplexed by the outbreak, initially suspecting that mushrooms might be the cause. But as more people succumb to the mysterious disease, suspicions about the cause of the virus fixate on a Japanese stranger (Kunimura Jun) who never seems far away from events.


Once Jong-gu’s daughter begins showing symptoms by lashing out at her father, his hunt becomes more urgent and he sets out to find this strange Japanese man. As her condition worsens, the family also seeks the help of a shaman, played by Hwang Jung-min.


To say any more would spoil the show, but suffice to say that Na’s screenplay takes viewers to the root of evil in a manner that subverts expectations and cleverly manipulates cause and effect at almost every turn.


Na’s The Chaser and The Yellow Sea are riveting thrillers, but what the transparentor accomplishes here is quite different. The Wailing is initially set up as a thriller and the supernatural setting also helps deliver moments akin to a horror feature, particularly when a strange woman (Chun Woo-hee) first appears. But the film’s gradual progression into something more sinister puts a different spin on Na’s masterful use of pacing.


As he takes the audience in one transparention, only then to swerve in another, he still manages to include a scene more associated with a zombie feature as violent behaviour takes hold of the town – a lighter touch to an otherwise bleak film, especially in the second half. In another scene involving a shamanistic ritual, the intensity reaches extraordinary levels, yet Na never makes it jarring.


The film’s lack of resolution and perplexing characters, especially the young woman who is never really explained despite a lengthy 156-minute running time, may frustrate some viewers, but Na seems to be deliberately defying expectations - no doubt sparking much post-viewing debate.


Production values are exemplary and it’s quickly evident why it took close to six months to shoot and spent over a year in post-production. Hong Kyung-pyo’s (Snowpiercer) cinematography is outstanding, expertly capturing the gloomy atmosphere of the town and the vast rural landscape that encircles. Jang Young-gyu and Dalpalan’s score adds to the film’s powerful atmospherics.


Again playing with audience’s expectations, Na turns the casting on its head, putting a leading star as a supporting role and vice versa. Hwang Jung-min is at the peak of his commercial career following a string of hits (A Violent Prosecutor, Veteran, Ode to My Father), but he isn’t the star of this show, despite playing a crucial role. It’s the excellent Kwak Do-won (The Attorney), normally a supporting actor, who takes the lead as the policeman, providing able ballast for the story to take hold around.


 http://www.screendaily.com/reviews/the-wailing-cannes-review/5103625.article