Failed attempt to transplant Antonioni alienation into Korean melodrama, which falls completely flat in Lee Man-hui's hands, mainly because every female character remains one-note and only serves as a catalyst for the male protagonist's wayward (and often dull) emotional journey. Lee Suk-kee’s beautiful cinematography deserves a better movie.
女人在公园长椅上的等待，伴着呼啸的风声，尘土飞扬。人生惨淡，不过如此。男人四处借钱，到处碰壁，借着消沉的“勇气”，又以拈花解忧，遇上另一个孤独的灵魂。清醒之后，悲痛降临，拖着没有灵魂的肉体淹没在城市之中。小小的一个堕胎故事，凝练出极强的感伤情绪。
曼彻斯特HOME#现实主义电影，有点像费里尼。点不了的烟、教堂钟声、星期日等意向反复出现，剧情简单，描写小人物的悲剧，参考时代背景，结尾传达的积极显得有些微妙。构图意味深长，摄影放在今天也毫不过时。
#LKFF2019。當年被韓共全面封殺的電影，背後故事比電影本身更精彩。當時政府認為故事太絕望，對生活貧窮的描寫太真實，要求結局男主角參軍當兵令人生重回正軌。
Failed attempt to transplant Antonioni alienation into Korean melodrama, which falls completely flat in Lee Man-hui's hands, mainly because every female character remains one-note and only serves as a catalyst for the male protagonist's wayward (and often dull) emotional journey. Lee Suk-kee’s beautiful cinematography deserves a better movie.
经典
第一部李晚熙，越看越惊喜～
10|11 采女东篱下，悠然见南山 EPD李宋喜一
好电影的意境来自于思想与技术，镜头、构图别致。申星一这样偏明星的演员在李晚熙的戏里也有不俗的表现。为了多了解背景，原本打算抽时间听一点评论就好的，结果几次想停停不下来，评论很精辟，再看介绍是郑圣一也就释然了，更何况两人路数相近。
情節沒勁,結構也比較鬆散,但是李晚熙的一些手法尚算有效用,攝影方面也挺牛逼,算是營造出些許意境吧
韩国悲剧 类似Henning的饥饿