Peppermint Candy (2000)
Directed by Lee Chang-dong
In the spring of 1999, a group of old friends gather to celebrate their 20 year reunion. Among the group is Yeong-ho, a cold, unhappy man, whose demeanor puts a damper on the festivities. The seriousness of Yeong-ho's depression becomes apparent when he climbs a railroad bridge and looks like he might jump. At this crucial moment, memories of seven crucial episodes from Yeong-ho's past flood his mind.
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What critics compared Peppermint Candy to
Bursting with a novelistic richness spiked with political awareness, Lee specializes in empathetic stories about ordinary people caught up in emotional extremes, be it the doomed hero of the wrenching Peppermint Candy , which begins with his suicide and traces his life backwards, to the aging heroine of his exquisite last film, Poetry , who finds refuge from the onset of Alzheimer’s and a family crime by enrolling in a poetry class.
The films of Lee Chang-dong (“ Peppermint Candy ”, “ Oasis ”, “ Poetry ”), one of the most esteemed filmmakers from South Korea, are usually layered in a way that requires some patience from the viewer.
His previous four films—Peppermint Candy (1999), Oasis (2002), Secret Sunshine (2007), and Poetry (2010)—represent the crown jewels of modern South Korean cinema, exhibiting such rich investment in psychology and milieu that one gains tremendous insight not only into the characters, but into the society they inhabit.
Sin concreción en las acciones ni en los personajes, en un estilo elíptico y con subtextos enigmáticos, rozando el existencialismo, Quemar graneros parece presto para la llegada de un autor como Lee, que en obras como Peppermint Candy (1999) y Secret Sunshine (2007) se había adentrado con sobresaliente personalidad en las complejidades del espíritu y de la pérdida con singular hermetismo.
Son licencias que con su infidelidad le permiten al director de Peppermint Candy ser fiel al autor de Tokio Blues.
Lee loves indeterminacy nearly as much as he loves dramatic bloodletting—each of his films, including the 1999 generational totem-epic Peppermint Candy (forever unreleased in the U.S.), is built out of fracturing subjectivities and missing information.
South Korea’s best filmic interpreter of class and social inequality is not Bong but Lee Chang-dong, who made last year’s elegiac Burning as well as Poetry (2010) and one of my all-time favorites, Peppermint Candy (1999).
Okay, first of all, the movie goes backwards, in feeble imitation of " Memento ," "Betrayal," and the outstanding Korean film " Peppermint Candy ."