![]() When novice Benedetta (Virginia Efira) joins a convent in 17th century Italy, she begins having visions of Jesus looking like something off the cover of a romance novel, striding towards her across golden fields and galloping on horseback to save her from ruffians. ![]() Brown's book Immodest Acts: The Life of a Lesbian Nun in Renaissance Italy (which itself is based on actual facts), is none of those things, a shocking, sexy, hilarious film that is hysterical in every sense of the word. "French lesbian nun historical drama" sounds like a joke, or like the typical sort of trashy European film festival offering that ultimately ends up being morbid and depressing, but Paul Verhoeven's Benedetta, based loosely on Judith C. ![]() When Jane reaches out to a smarmy HR person, played by Succession 's Matthew Macfadyen, she quickly realizes that speaking out is futile. Instead, it is about the systems in place that have allowed his behavior to go on for so long. But this is not a story about triumph over the evil that men like Weinstein perpetrate. A meeting with an actress extends late into the night. A new, very pretty woman arrives from Idaho with no experience and is put up in a fancy hotel. Jane's unseen boss is quite evidently a stand-in for Harvey Weinstein, and over the course of her otherwise monotonous day, Jane starts to realize something is amiss. But director Kitty Green has made a silent scream of a film, which is so quietly unsettling it becomes hard to shake. A young woman (played by Ozark 's Julia Garner)-whose name is apparently Jane, although it's never said in the movie-goes to work at the office of a high-powered Hollywood executive before the crack of dawn and heads home long after the sun has set. ![]() In the clip above, critic Darcy Paquet speaks with Bong Joon-ho about the research that went into constructing the profile of the killer as they were portrayed in the film, the emotional strain of filming some of Memories of Murders’ most harrowing scenes, and his complicated reaction to the news of Lee Chun-jae’s confession.Ĭriterion will release the 4K edition of Bong Joon-ho’s Memories of Murder on April 20, and it can be purchased via Amazon or the Criterion store.Nothing much happens in The Assistant. This week, Criterion will release a new 4K digital restoration of Memories of Murder, complete with extra dvd features including commentary tracks, interviews with admirers such as Guillermo del Toro, and interviews with the director himself. He eventually confessed to the murder of over 14 women, 10 of whom were victims in the Hwaseong murders. But in 2019, Korean authorities confirmed the identity of the killer as Lee Chun-jae, a 57-year-old serving a life sentence since 1994. ![]() It’s a film whose consummate craft and tone rivals, if not outright surpasses, David Fincher’s Zodiac from 2007, with terrific performances courtesy of Song Kang-ho and Kim Sang-kyung and a final scene and shot that’s sure to devastate and haunt you long after the credits roll.įollowing the release of Bong’s film in 2003, the real case remained unsolved for another 16 years. Memories of Murder is an emotionally taut and exquisitely plotted crime thriller that encompasses many if not all of the aesthetic touchstones that would go on to become Bong’s signature across his later films: darkly comedic undertones, evocative cinematography, and impressive blocking. As the stress of the case wears on and the bodies pile up, Seo (Kim Sang-kyung) and Park (Song Kang-ho) are pushed to their brink by a desperate search to bring the killer to justice. Bong’s 2003’s procedural murder thriller Memories of Murder is commonly touted as not only one of his best, but one of the greatest Korean films ever produced.īased on a true story from the 1980s, Memories of Murder finds two detectives struggling to capture the culprit behind a then-unprecedented series of murders of women in the agrarian town of Hwaseong. Films like Okja, Snowpiercer, and The Host garnered him international acclaim for his biting social commentary, acerbic wit, and deft tonal twists. Before he directed 2019’s Best Picture winner Parasite, Bong Joon-ho was already a pioneer filmmaker at the forefront of Korea’s New Wave. ![]()
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