Onwards with reviews of my films of 2022 (see my full list here). I feel like a theme for this past year has been the stuff I didn’t expect to like. Paul Thomas Anderson (whose Licorice Pizza I’ve just covered) has only recently become a filmmaker I’ve started to like, but Park Chan-wook was never really high on that list either. I’ve admired his films, including 2013’s Stoker (probably the last of his I reviewed here) and The Handmaiden a few years later, but this most recent film was a surprise to me: a sinuous murder mystery, but far more taut than many of the rather shaggier and comedic efforts we’ve had recently.
At this point in the filmic world of murder mysteries, detective films, and neo-noirs with femmes fatales, there’s not a whole lot that’s new you can do, but you sure can imbue it with a masterfully orchestrated sense of enfolding narratives, a structure so intricate (but expressively evoked) that it threatens to fold in on itself, which turns out to be somehow apt but I won’t get to that here. Instead, Park Chan-wook (a filmmaker I’ve never perhaps fully appreciated) has a bag full of cinematic tricks for pulling different time strands into one another, making flashbacks one with the present and advancing a sort of woozy romance of sorts between its detective lead Hae-joon (Park Hae-il) and the mysterious Chinese woman Seo-rae (Tang Wei) who either has bad luck with her husbands or is murderously deceitful. Quite which is the case is what Hae-joon is trying to figure out, but instead he’s just falling for her it seems. I’m not sure there’s anything new to this, but it is made with a lovely sense both of place (whether foggy, snowy or beachy) and of these interlocking characters circling around one another for the film’s length.
Director Park Chan-wook 박찬욱; Writers Jeong Seo-kyeong 정서경 and Park; Cinematographer Kim Ji-yong 김지용; Starring Tang Wei 汤唯, Park Hae-il 박해일, Lee Jung-hyun 이정현; Length 139 minutes.
Seen at Light House Cuba, Wellington, Friday 4 November 2022.