Homesex movieGisaengchung (2019) Movie Sex & Nudity

Gisaengchung (2019) Movie Sex & Nudity

A married couple engages in heavy petting, with the woman’s breast briefly visible, nipple is not shown. Takes place in a living room with hidden people nearby, listening and aware of the sex play.
A woman wearing a dress takes off her underwear in the backseat of a car. No nudity is seen.
A man grabs a woman’s butt briefly.
A man and woman lying together on a couch begin touching each other. No nudity is seen, the scene is tame, only lasting a minute or two.
There is some talk about sex in a couple scenes but nothing too explicit
Ki-Woo and Da-Hye kiss in a couple scenes. One very passionate kissing scene. No nudity
Mild to Moderate – No nudity or sex scenes in the entire film. However, some heavy kissing, sexual references and sexual play are shown in the film, awkward and not graphic.


Film review:Translated by www.rabudo-ru.com


Copyright belongs to the author. Please contact the author for reprint in any form.

Author: TDK (from Douban)

Source: https://movie.douban.com/review/10380439/

Looking forward to the cooked meat of parasites all day, I also found that it was basically well received. My rating for parasites is 7 / 10 In fact, I once wanted to play 4 / 10, but calm down. To be fair, this is still a popular film with high completion and good expression effect, but golden palm really doesn’t deserve its name. This film has many advantages, which I don’t deny at all, but I don’t think it’s necessary to retell it, mainly about its disadvantages. I think there are great shortcomings in three aspects: 1. The development of the plot is illogical. 2. The symbolic meaning of expression is too straightforward and low-level. 3. Theme intention mining is not deep.

First look at the first one. Generally speaking, a film with a strong story has a minimum requirement for the development of the plot to comply with the basic logic. Of course, I fully agree that certain factual and logical sacrifices need to be made for theme expression and dramatic effects. However, the sacrifice of parasites did not achieve the same theme expression effect, which is not OK. For example, the process of arranging four family members into a rich family, which basically occupies the first third of the films, is very dramatic and very smooth. On the first day when the man went, I suddenly had an idea and proposed his sister. I thought it was wonderful and smart, because after all, I received more salary than the previous tutor. It’s normal to want to double this salary. But then it was arranged bit by bit, which was so smooth. Second, if the smooth entry into the mansion is needed for the development of the plot, it is even more false that these people are still competent for the work of the mansion. The rich’s nannies and drivers are not so easy to be, especially nannies. The old nannies have worked under the former builders and homeowners for many years to adapt to this job. Moreover, the whole conversation and manners, the old husband and wife living in the slum environment can’t hide their secrets. Of course, the director did not take this into account, adding song Kanghao rehearsing at home and the host complaining about song Kanghao’s role on the edge of crossing the border. But it is still not enough. The overall logical rationality is very fragile. Third, in the scene of camping night, everyone who had drunk knew how much the four people had drunk in the living room and even broke and overturned the wine glass. The host and hostess didn’t notice it at all. They even shot on the sofa. The glass residue everywhere was finally swept away and simply handled by Kim ki ting, This is basically an intolerable illogical. There are many such examples, so I won’t list them one by one. I admit that some are necessary, but in the overall promotion, the director has done too much to promote. In particular, the final garden showdown, frankly speaking, is it necessary? Don’t you think the ending is a little abrupt? This is the way to solve the conflict climax forced by the ending when the director’s stand is spread out. And the end of the garden showdown is the same, leaving people in need, one who can write in the basement and one who can receive letters outside. Moreover, song Kanghao didn’t know when his son would come to see it. He knocked the Morse code every day. The light flashed all night, and our German residents didn’t find someone to repair it. Forget it. I can’t stop talking about it.

The second problem is that the symbolic meaning is too direct and tasteless. This is almost the biggest problem and the most fatal problem in the film. I’ll just use examples. 1. The stone sent by Minhe showed several time nodes. When it was sent, it said it brought wealth and luck. Then the family of four continued to get employed and prospered. On the night when everyone was employed, he drank beer to celebrate. The man who urinated everywhere appeared. At first, Jin Jiyu was ready to go out with a stone. As a result, he was stopped by his father. Later, he changed to water, which showed that his wealth and luck began to shake. Then there was the big play of camping rainy night. Bad things began to happen one after another. When he came back, his home was flooded and the stone was soaked in water, Further down the slope, in the end, Jin Jiyu wanted to kill the old nanny couple with that stone, but his head burst. Well, the whole stone. 2. The cockroaches with the lights on are running around. I don’t want to say more. I haven’t seen such a scene. It’s like a primary school student just learning metaphors. I’ll speak it out and then play it again. You just put a family home at the beginning. It’s good to turn on the lights. The scene of cockroaches running away is not so straightforward. 3. The host and hostess smelled the smell before making love on the sofa. I was very happy to hear the smell. My heart said that you finally noticed the smell of wine. As a result, I smelled the smell of “parasites” and boiled rags. I was speechless immediately. The director really tried his best to get a problem. I think ah, it’s better to apply what Xu Zheng said in the God of medicine. There’s no smell, just the smell of poverty! 4. On the rainy night of camping, the director wanted to give a hypothetical class transition with multi-layer nesting. When he first asked the new nanny to drink, he said that if I had money, I would be kind. In the twinkling of an eye, when she was in the position of the temporary owner of the house and faced the secret of the basement of the old nanny, The old nanny’s request to send food to her husband once every two days to once every two weeks is ruthless and ignored. This is the first meaning to express that when people get rich and have power, they get worse. Immediately after that, three people rolled down the stairs. The pigtail was caught by the old nanny. The power structure immediately changed. The old nanny couple began to show off their power, and the four people were forced to kneel and raise their hands. This is the second performance, which strengthens the previous meaning. Moreover, even in this way, when the old nanny asked for a new nanny, he had to emphasize that the old nanny’s husband had opened a cake shop before, and then immediately cut the camera to song Kanghao to show the role replacement. It’s simply not too straightforward. What’s more, as long as we think about it carefully, the next step for the old nanny to get the video is unreasonable. What’s she trying to show off like this? It’s a great night. If you really want to send the video to the hostess, it’s a fish dead and the net broken. No one can go on. A more logical option is that six people work together to help each other, four people still maintain their face work, and even two nannies can provide for the elderly in the basement. 5. Kim Jong Un is even more generous. Feng Junhao is also a director with a certain reputation in the world. Do you have to make such a frank mockery of the north? When song Kanghao drives, he also has to say that every alley south of line 38 is clear. It’s really unnecessary. This kind of interview is just like that some areas have to deduct a few pieces from the map to make a TV play. I really didn’t want to write down so much, and in fact, I didn’t need to write down. After two days, the official account of the micro-blog bean naturally sorted out 50 details that you might have overlooked in the parasite. Do you really understand the 99 small foreshadowing parasites? It’s more complete, but the more symbolic expressions, the lower the director’s technique. As long as you review these techniques a little, you will feel that the sense of design is too strong and the whole work is too neat. In addition, to be fair, what are the new ideas in the expression of these symbols? It’s nothing more than a clich é like vomiting, pregnancy, bad news, falling bowls, thunder and rain. Such a shallow design is not even necessary for two brushes. You can’t see anything new at all. In short, it can’t stand repeated thinking. If you don’t believe me, I’ll give you a little hint. Maybe not everyone noticed. At 27 minutes and 22 seconds of the film, when the hostess talked with Jin Jiting, the lights in the back aisle suddenly went out. If we look back at 26 minutes and 01 seconds, we will find that the old nanny turned on the switch manually when we went downstairs. At this time, the lights went out without any operation, It’s just that the road from the ambush pen to the basement is dark, and there are secrets behind the road. Including the man who said in the back seat that the old nanny was good at everything, that is, she could eat as much as two people. On these things, every sentence, action design and plot arrangement, you have seen through what it means and what else is worth brushing. What I want to say so much is actually two points. One is that the sense of design of the whole play is too heavy. Feng Junhao has too many cleverness and calculations, which leads to extreme unnaturalness. Second, these calculations are too superficial and have no fun of discussion and repeated smacking. Of course, there are not no bright spots. I think the only bright spot in the whole article is that Jin Jiyu kept laughing after waking up. This is really interesting.

At this time, I thought of burning last year. At that time, I thought it was very good when I just looked at burning, but it was not particularly good. But today, I can see from the comparison that Li Cangdong is really much better. To give a simple example, the reference and emotional expression of Liu Yaren’s two pistol shooting scenes before and after burning are much more tolerant than parasites, and there are much more connotations, which can stand repeated discussion. Another example is the same expression of class. Li Cangdong’s scene is very life-oriented, that is, driving home, going to the rich second generation’s house for a party to eat spaghetti, etc., including the blank space after the girl disappeared in the back. Although Liu Yaren went to the rich second generation’s house, there are all kinds of clues, it seems that the rich second generation killed the woman, However, whether this is the case or the prejudice caused by Liu Yaren’s own writer attribute and preconceived thought. Later, song Yaren stabbed the rich second generation in the snow, whether it really happened or as a writer’s imagination. We will find that this is worth tasting again and again. In the end, it doesn’t matter whether the rich second generation killed the female owner or not. It doesn’t matter whether Liu Yaren killed the rich second generation, because what we want to express is that the girl is strangled by the class represented by the rich second generation, and Liu Yaren, as the representative of the bottom, is full of anger at the class in Jiangnan district. This is a high-level expression, which can abstract meaning, but it is worth pondering. This is especially true emotionally. For parasites, the so-called sense of design is too heavy and more calculations can only make the audience understand the characters in the film, but it is difficult to resonate their emotions. After all, our life is not as dramatic as in the film. But the burning is different. The whole film is easy to bring us under that emotion at the beginning, and it is very attractive and depressing, which aggravates the estrangement and contradiction between classes. At the end of the snow stabbing scene, it is also stabbing people. It is not a cheap emotional explosion like a parasite, but a little force, Stabbed him deeper and deeper into what he hated. This is a complete emotional input, and it is difficult for me to have a great resonance in myself. Let’s say a trivial expression. In the discussion on the north of line 38, burning is much better than parasites. Compared with parasites, old nannies ride on their backs and shout “three fat”, Liu Yaren just went around line 38. Even when he shouted “three fat”, even if Feng Junhao portrayed the old nanny couple as a defector, I thought it was more acceptable that the reason for poverty was defection rather than usury. As a result, his husband turned around and praised the old nanny as an excellent dialect Comedy Performer, which was very disappointing. A lot of things are just enough.

Of course, this may become an advantage of this film, that is, the threshold is very low and it is very easy for the public to accept. Therefore, if it is regarded as a commercial film, I think it is good for the public film. But for the golden palm, for the artistic side of the film, I think the expression of film art is too weak, which is tantamount to reading the central idea of the film directly. Compared with this, I am more willing to see a more tolerant, more implicit, more introverted, more worth thinking about, more in-depth emotional communication and resonance with the audience, and a more emotion dominated expression.

The third regret is that the theme has not gone far. Basically, it is still a very common class contradiction. No new tricks have been played. Not only have no new tricks been played, but the performance of the old theme is too superficial. Maybe it’s more about the plot setting and the so-called two reversals. In fact, I think the reversals are just… That’s it. It’s not any reversals, that is, the plot promotion of the design. Leaving aside the story, the film can stay in almost one or two sentences. The poor are parasites. They are like cockroaches in front of the rich. They can’t see the light and run away in private. Their fate is easy to be controlled by others. It’s really not very satisfactory.

Finally, let’s say a joke. This is probably my most real feeling in the process of watching.

A pair of crosstalk actors in Tianjin told a story on the stage. It’s like this. A man and a woman face each other on the train. Men tease women with their feet at the bottom

The hospital, Dr. Wang said, today is really an eye opener. Syphilis is growing on the foot beans.

The other doctor said, no, I’m seeing a patient today. There’s beriberi in the book.

At this time, he said with approval. Oh, it’s cross infection.

You scolded at that time. You have a mouth, don’t you? Take us as old uneasy who haven’t heard of crosstalk, right? Can you turn it over

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