One sex scene, but with no nudity. The intercourse is depicted as disappointing for the woman, because although she has enticed the man, he is unable to perform properly and stop and leaves her.
The woman tries to invite another man to have sex with her, but he refuses.


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


Li Cangdong’s Secret sunshine is the best Korean film I have ever seen. It is said that it is the best Korean film to watch. There are several points to declare. First, I rarely watch Korean films. My acquaintances here will know that I am a little biased against Korean films, and I have only seen this film Miyang in Li Cangdong’s films. Second, the so-called “best” starts subjectively, not necessarily the best, but just right to my own appetite.

* * *

Some days ago, my friend asked me, who refused to read, to read Kundera’s novels. I thought I would like them. I read one or two and did like them. Although his most famous “unbearable lightness in life” has not been seen, and even his film “love in Prague”, I think the most unexpected harvest is that I read Kundera’s “Le Rideau” blindly and mistakenly. This book is not a novel. It’s a little dull to read. It’s a bit like writing a long paper in prose. The title may be called “the most precious value of the novel”.

Because of the subtlety of the story, great novels can still touch people’s hearts and break the boundaries of region and time and space after translation or even multiple translations (for example, first into English and then into other languages). Through the style of novels, novelists use the story plot to vividly show the true meaning of life that can not be directly expressed in words, and can resonate with readers whenever and wherever, so as to inspire them to think about their own life.

All the great novelists focus on human life and are truly anthropologists. When I read Kundera’s discussion, I constantly feel that the carrier of film has similar power.

* * *

Jia Zhangke said that he didn’t dream of being a director since he was a child, but he just met a tool of the camera and had to tell a story. If he is not a director, he can be a writer and write novels.

Li Cangdong is known as a “writer and director”. Before he became a director, he wrote novels. Miyang is the fourth work he wrote and directed by himself.

Apart from the Hollywood dream workshop style tea and rice production, in fact, many excellent film masters have the characteristics of novelists described by Kundera. Their difference lies in the different tools of storytelling.

* * *

As the director said at the film exhibition, “Miyang” is not about religion, so there is no anti Christ or anything at all. However, it must be hard for believers (especially Christians) to see this film, because the questions raised in the film do not point to religion itself, but the doctrines and preaching methods that embody religion.

The script of Miyang is an in-depth novel. It has the necessary materials for mainstream Korean films (death, Pathetique, revenge, resentment,…), But told an unconventional story. Every time the plot goes to the moment “suitable” for selling cheap tears (for example, shen’ai played by Quan Duyan goes to the river to personally recognize his son’s body), the director’s handling is extremely restrained to avoid the film falling into Korean tear.

The film is not about religion, but shows the two human natures of “resentment” and “forgiveness”.

Resentment is human nature. If we are hurt, deceived, insulted, betrayed or fooled by others, we will naturally have resentment against the perpetrators. Subjugated slaves will resent the invaders. We will resent those who hurt our old lovers and betrayed our brothers and sisters. The heroine Shen AI has lost her husband and son successively. It is natural that she hates heaven and hates the murderer. However, people still have to live with hatred. The pain of applying for love is extremely self mutilation. When they have calmed down, they will still run out of the street for help. It can be seen that people have the nature of seeking survival and fearing death.

To live, we must dispel resentment. Revenge is a “natural” way. There are many ways to revenge. The most straightforward way is to kill a dog like the original criminal. The main purpose is to return a tooth for a tooth and make it worse. Another way to dispel resentment is the “forgiveness” advocated by religious and moralists. They intend to seek spiritual salvation through the noble sentiment of “good for evil”.

In the film, Li Cangdong showed an embarrassing truth for religious experts, that is, there was a prerequisite for forgiving others: your situation is stronger than the other party. You can ask the enemy to hit your left face and then your right face, because you have the ability and conditions to suffer this small loss, and you can take a generous attitude after suffering a loss. This posture does not even have to be exposed in front of people, but it must be able to convince oneself that his realm is higher than others. Shen AI can’t forgive after seeing the enemy who killed his son, but the whole person collapses. It’s just that he found that the enemy had already been enlightened and couldn’t forgive condescending.

* * *

Forgiveness cannot redeem shenai from resentment. Therefore, shenai completely abandoned her faith and hated her religion with the most resentful eyes.

How can we get the ultimate spiritual salvation? The film can’t provide answers, so the ending is open. This is not that the director deliberately hides his position and asks the audience to “reflect” (which is different from the recent open ending of lions for Lambs), but that there is no dogmatic absolute answer in reality (if there is any, the church can cure the heart of love). It is remarkable that Li Cangdong has the courage to question the problems we always thought there were no problems.

Quan Duyan’s acting skills are beyond doubt after she was awarded Kangcheng film for her role of shenai. Other supporting roles also have detailed three-dimensional descriptions. I was particularly impressed and moved by the two roles. One is the murderer’s daughter. She has a seemingly dignified but deeply unscrupulous father. If her fate is unfortunate, it is no less than lucky love, but she has no resentment and has always preserved her kind nature. She went to shenai’s piano school and looked around in fear. It was out of conscience that she directly helped solve the case. She was insulted by hooligans. As a mother, Shen AI can be regarded as if there is no gambling. It can be seen that Shen AI’s forgiveness is hypocrisy.

Although the girl’s misfortune stems from the murderer’s father rather than her own sin, she has no resentment. When I cut Shen AI’s hair, I was still deeply sorry. She is the most beautiful character in the whole film.

Another most virtuous role is boss Jin zongcan (song Kanghao) who always follows shenai. He is obviously infatuated with shenai and has been guarding unconditionally, but he did not take advantage of others’ danger. He spoke for shenai without tears at the funeral and taught shenai’s grandmother a lesson. At the police station, he did not hesitate to chase and beat the murderer who had arrogant eyes for shenai. Even when shenai flatters him, he will drink loudly. All kinds of performances show that he is sincere to apply for hobbies and does not mind suffering losses for each other, but he is not the flatterer of the suitor.

Boss Jin’s heart is as clear as a mirror. Shen AI is going to prison to “forgive” her enemy who killed her son. Boss Jin questioned more than once: “do you really need to meet? Isn’t it enough to forgive?”

Shenai should actually believe in the existence of God, because although God took away her most precious things, he sent guardian angels around her to silently give her some advice and support. In fact, these guardian angels often exist around us, but we all turn a blind eye to them like shenai, and don’t regret until they leave.

At the end of the film, shen’ai’s great hatred seems to calm down. Boss Jin still stays behind her and has no intention to persuade her. He continues to let shen’ai make his own decisions. He just holds a mirror for her to see her face clearly when she cuts her hair.

To resolve big grievances, time is often the key. The film retains the open ending because time is only an inevitable condition rather than a sufficient condition. In addition to time, shenai finally has to face the knot she has been avoiding before she will have the opportunity to decompose her resentment.

Shen AI came to Miyang and opened the prelude to the tragedy. She said that Miyang was her husband’s hometown and the place her husband wanted to go back, but Shen AI’s brother once mentioned that her brother-in-law didn’t love his sister at all and was not worth missing.

What is the secret heart behind the sun? Probably only the people concerned know.

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