Vikingbyheart

Goksung (original title) or The Wailing (English title), the new film from South Korean director and writer Hong-jin Na (known for Chugyeogja - Chaser - 2008 and Hwanghae - The Yellow Sea - 2010), is already considered one of the great works in the horror genre, addressing a macabre part of eastern culture on legends, curses, evil spirits and mysticism, being one of the highlights at the Cannes Film Festival.

Coincidentally after the arrival of a stranger, a strange disease begins to spread in the small village of Goksung, triggering a series of brutal murders. What at first appears to be only crimes of passion just takes darker contours, since all deaths occur in mysterious circumstances. In charge of the investigation, the police officer Jong-Goo (played by Do Won Kwak, known for Ajeossi - The Man From Nowhere - 2010) searches for clues and explanations to the tragic events. When his daughter, Hyo-jin (played by Kim Hwan-hee), begins to feel the strange symptoms of the disease, he has to fight against time to solve the mysterious case and save her life.

With a rhythmic narrative, The Wailing presents a folk story associated with Eastern mysticism and also the occultism, marked by elements of mystery, horror and supernatural, as guardians, demons and shamans, and the unfolding of the plot gradually gets more intense and disquieting contours. The technical quality is one aspect that stands out in the movie. The picture and the soundtrack provide an immersive and engaging combination as ambiance, expressed by constant rain, the mud, the precariousness of the small village, the striking features of a small town, as well as makeup and massacre scenarios, consolidate the mystical and eerie atmosphere of the film, expanding the mystery and holding the viewer's attention.

The script plays well with expectations, building some characters in a dubious way, without specifying their actual intentions. A relatively simple story is presented in a complex and intriguing way, where apparently scenes with no great purpose show us much, requiring attention to small details, whether occult symbols or religious references (Biblical). Crows and goat's head are used throughout the narrative, symbolizing death and evil omen and referring to the profane and witchcraft.

The film manages to build an atmosphere of terror without abusing the typical genre tricks. The moments of humor are used to softer the approach of a subject that in itself is already quite tense. Here it is worth mentioning the great performance of Do Won Kwak in the caricatured role of the lazy, fumbling and fearful police officer, though well intentioned.

With a competent job of the cast, efficient direction creating an atmosphere that blends mystery, horror and comedy as well as providing much reflection with an end open to different interpretations and also for its originality, The Wailing is one of the most significant movies within the genre in recent years.

Kollektivet (original title) or The Commune (English title), the new movie from director Thomas Vinterberg (known for Festen - The Celebration - 1998, Submarine - 2010 and Jagten - The Hunt - 2013), one of the founders of the film movement Dogme 95, which seeks to create a more realistic and less commercial cinema, deals with a family in the 70s, formed by the father Erik (played by Ulrich Thomsen, known for Festen - The Celebration - 1998 and Adams æbler - Adam's Apples - 2005), the mother Anna (represented by Trine Dyrholm, known for Festen - The Celebration - 1998 and DeUsynlige - Troubled Water - 2008) and the daughter Freja (played by Martha Hansen). Erik inherits the house of his family after the death of his father, but considering it very large and with high maintenance costs he is willing to sell it. However, his wife convinces him to turn the house into a kind of community, inviting some friends and even interviewing strangers to share the house and to help pay the bills. Living in a group, like a big family, they have dinners, parties and regular meetings so that important matters are made democratically. But the utopia around this experiment begins to be questioned when a love affair shakes the small community.

Kollektivet hits to portray very well the time when the story takes place: the 70s in Copenhagen. The production design, costumes and characters's characterization, expressed by the clothes, hair and costumes, confer credibility and immerse the viewer in the plot. But the film errs for not develop enough the characters that are not part of the central plot. The director should have further explored the group in conflict scenes and the writer could have better elaborated the difficulties of social life that are inherent to a life in a community. As it was written the supporting actors add little to the story and the parallel plot of Freja's journey into adulthood opposed to the reflection of everything that happens within the community deserved to be better developed.

The big highlight is the actress Trine Dyrholm, who received the Silver Bear for Best Actress at the Berlin Film Festival this year for her excellent performance. The most dramatic scenes and the strongest blows that we took in the feature film are starred by her character, Anna, a television news presenter. The actress representation convinces not only because her ability to express emotions in times of joy or in the darkest moments, but by the naturalness of interpretation, which makes the viewer forget that it's just a role play.

Convivial challenges can be overcome? To what extent a community project should override the individual interests? What is more important: the individual or the collective? Life in community is possible? These are some of the questions that The Commune tries to address, but ends up doing superficially. Director Thomas Vinterberg had talent to produce a film with a final result much better than he produced.

Originally posted in: https://vikingbyheart.blogspot.com.br

Horror movies were never the same after the zombie trilogy by the director George Andrew Romero. In Night of the Living Dead (1968) we were presented to zombies who eat human flesh, a thriller mixing horror and social criticism. In the second film, Dawn of the Dead (1978), besides the social satire about paranoia and humanity to the brink of apocalypse, the movie explores the comic potential of zombies, especially black humor. We are the headless and cannibalistic beings who roam the cities. Closing the trilogy, Day of the Dead (1985) continues with the social criticism and the comic tone, but relies on a more depressive and gloomy scenario, apart from the use of graphic violence. Following the footsteps of George Romero we have the gore Braindead (1992), the horror 28 Days Later (2002) and Rec (2007), and in humor genre, Shaun of the Dead (2004), Zombieland (2007) and Død snø - Dead Snow (2009).

The South Korean movie Busanhaeng (original title) or Train to Busan (english title) focuses on horror and action, with some moments of suspense. Written and directed by Sang-ho Yeon (known for the zombie animation Seoul Station - 2016), the film tells the story of a financial sector executive, Seok Woo (played by Yoo Gong, known for Do-ga-ni - Silenced - 2011) who agrees to travel with his daughter, Soo-an (represented by Soo Kim-an), from the capital Seoul to the city of Busan for she spends some time with her mother (Seok's ex- wife). After embarking on a modern express train (KTX) passengers discover that an epidemic is raging South Korea, turning much of the population into zombies. With an infected person on board and the disease rapidly spreading, father, daughter and other passengers will have to fight for survival and for their lives, trapped inside a high-speed moving train.

The director Sang-ho Yeon does a great job, managing to immerse the viewer in the plot. Despite most of the action been set in a train the film has a dynamic narrative and impresses for its visual and technical accuracy. Unlike the slow zombies of George Romero's trilogy in Train to Busan they are extremely agile, threatening and lethal. Another highlight is the cast. The characters are well developed, even for a horror movie and the actors deliver relevant performances, especially Sang Hwa (played by Dong-seok Ma, known for Joheunnom Nabbeunnom Isanghannom - The Good, The Bad, The Weird - 2008), the girl in the role of the daughter, Soo-an Kim, and Yoo Gong acting as the father. The soundtrack and sound effects are moderate, providing genuine scares.

There are still some elements in the movie of South Korean culture, as the obsession with education and study, and a strong critique of modern society. The quest for professional success even at the expense of family and leisure time is questioned in the film, as well as the social tension. Moral and ethical conflicts involving empathize or not for others and follow or not the animal instinct of self- preservation are exploited by different profiles of the surviving passengers.

Despite having some clichés of the zombie genre Busanhaeng is a great horror film, with good moments of suspense, well-constructed action scenes, a well-chosen cast and the right amount of tension to captivate the viewer.