kind among non-Korean viewers, is not perfect, but a definite. At 70 minutes, it is a perfectly respectable length for a stand-alone feature film, and this is a movie that deserves to travel. We learn that the director of the short film, a character named Yi Hyong-su with whom Tong-su went to film school, is seriously sick in the hospital. Jang's approach is almost precariously democratic: he provides a space for an aria-like showcase to nearly every single supporting player, right down (literally) to a gas station attendant. Although he does cut up the many fight scenes into multiple shots, it's also clear that this is not to compensate for any lack of skill on the part of the actors. Although the general path followed by the plot is pretty straightforward, Song leads us down many odd and fascinating detours. This is not to say that the film isn't beautiful.
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An individual can set loose the forces of history, but cannot control them. The same evenhandedness is extended to the North and South Korean soldiers and how they regard the War from their respective viewpoints. I also don't want to slam the middle-aged Japanese women who are so fond of him, for such desire for their idol is not necessarily a gender and age variation on Otaku -ness, but perhaps a medium for something more progressive about the wants, needs. Jung's intended humor in this joke reveals more of the psycho-sexual that Pang plays with throughout the film. How we are supposed to respond to Sun-jae herself constitutes a more difficult problem.
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