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Burning films

Burning Films Filmhandlung und Hintergrund

Jong-soo (Yoo Ah-in) lebt in der südkoreanischen Stadt Paju, wo er sich mit Auslieferungsjobs über Wasser hält - dabei hat er eigentlich studiert und träumt davon, einmal Schriftsteller zu werden. Doch ihm fehlt der Fokus im Leben, den er. Burning ist ein Film des südkoreanischen Regisseurs Lee Chang-dong aus dem Jahr , mit Yoo Ah-in, Steven Yeun und Jeon Jong-seo in den Hauptrollen. Burning ein Film von Lee Chang-Dong mit Yoo Ah-In, Steven Yeun. Inhaltsangabe: Jong-soo (Yoo Ah-in) lebt in der südkoreanischen Stadt Paju, wo er sich mit. Im südkoreanischen Psycho-Drama Burning entspinnt sich eine flammende Beziehung zwischen drei Menschen, die sich eigentlich gar nicht richtig kenne. Die internationale Kritik hat recht: "Burning" des Südkoreaners Lee Chang Dong ist einer der besten Filme aller Zeiten.

burning films

Im südkoreanischen Psycho-Drama Burning entspinnt sich eine flammende Beziehung zwischen drei Menschen, die sich eigentlich gar nicht richtig kenne. Die internationale Kritik hat recht: "Burning" des Südkoreaners Lee Chang Dong ist einer der besten Filme aller Zeiten. Burning ist ein Film des südkoreanischen Regisseurs Lee Chang-dong aus dem Jahr , mit Yoo Ah-in, Steven Yeun und Jeon Jong-seo in den Hauptrollen.

Jong-su, struggling to get by and taking care of his family farm while his father is in prison, envies Ben and his relationship with Hae-mi from afar.

Hanging out at Jong-su's farm, Hae-mi recalls a childhood memory wherein Jong-su rescued her after she fell into a well near her home, which Jong-su does not remember.

The trio smoke cannabis and Hae-mi dances topless. After Hae-mi has fallen asleep on the sofa, Ben confesses a strange hobby: Every two months, he burns an abandoned greenhouse.

He notes that Jong-su's rural neighborhood is full of greenhouses. When asked when his next burning will take place, Ben claims it will be very soon and close to Jong-su's house.

Jong-su tells Ben that he loves Hae-mi, however he shames Hae-mi for disrobing in front of other men, calling her a prostitute.

Hae-mi quietly gets into Ben's car and as they leave Jong-su tells Ben he will keep an eye on the greenhouses in his area. That night Jong-su has a dream of himself naked as a young boy approaching a burning greenhouse.

After the dream he looks outside at the ruins of a greenhouse on the farm and recovers Ben's lighter from the previous night.

Over the following days, Jong-su patrols around the neighborhood to see if any greenhouses burn down, but none do. One afternoon, in front of an intact greenhouse that he happens to be inspecting he receives a call from Hae-mi, which cuts off after a few seconds of ambiguous noises.

Jong-su becomes worried as she does not return any of his calls afterwards, and begins to investigate after her phone number becomes disconnected.

Eventually he convinces the landlady to let him into Hae-mi's apartment so he can feed her cat. However, she notes that no animals are allowed in the building.

Hae-mi's apartment is unnaturally clean, her pink suitcase remains, and all signs of the cat are gone. Jong-su begins stalking Ben, starting at his apartment and following him to see where he goes.

When he sees Ben's Porsche parked outside a restaurant he goes inside to talk to him. Ben looks surprised and is friendly to Jong-su.

A young woman suddenly approaches the table, apologizing to Ben for being late. As the three of them leave the restaurant, Jong-su asks Ben if he has heard from Hae-mi and if she had gone on a trip.

Ben says he has not heard from her, and doubts she had gone on a trip because she couldn't afford it. Talking about her in the past tense, Ben says Hae-mi disappeared like ash and that Jong-su was the only person she trusted.

He says that it made him jealous for the first time in his life. Jong-su repeatedly starts to look for clues.

He goes to Hae-mi's family restaurant asking if the well story is true, and her mother denies, stating Hae-mi always invented stories and there was no well.

Her mother also tells Hae-mi is prohibited of talking to the family because of her major credit card debt.

Jong-su asks the new owners of her old house and they don't recall the existence of the well itself. Later, Jong-su receives a call from his mother, whom he hasn't heard from in many years.

He meets with her and she states that she remembers the well. One day, Ben finds Jong-su outside his place. Ben asks him why he was there and Jong-su tells that he wants to talk about Hae-mi with him.

Ben invites him up to his party in his apartment where Jong-su finds that Ben has a new cat which he claims is a rescued stray. Shortly afterwards, Ben's cat runs out of the apartment to the garage and Jong-su calls the cat "Boil", the same name as Hae-mi's cat, and the cat comes to him.

Jong-su tries to leave but is stopped by Ben, asking him if he doesn't want to talk about Hae-mi and Jong-su tells him he no longer needs to do that.

Jong-su starts writing his novel in Hae-mi's apartment. Ben is seen putting make-up on a young woman in his apartment. Jong-su asks to meet Ben in the countryside, claiming he is with Hae-mi.

After Ben discovers that Hae-mi is not there, he asks him where she is, Jong-su proceeds to stab Ben several times. Stunned at his actions Ben starts crying and hugs Jong-su in his final moments until his death.

Jong-su douses Ben's car and body in gasoline and sets it all aflame, tossing his blood-soaked clothes in as well.

He then goes to stumble to his truck, driving away as the car burns. Developed as the work of the international project which was based on one of Haruki Murakami 's short stories in The Elephant Vanishes , "Barn Burning".

When they think of their lives and the world, it must feel like a mystery", at the Busan International Film Festival.

In , it was thought that Gang Dong-won and Yoo Ah-in will feature in the film, but an official announcement was not made.

On September 5, , it was announced that Yoo Ah-in has been confirmed for the role of Jong-su. Principal photography began on September 11, The first film directed by Lee Chang-dong in eight years, [8] Burning was widely predicted by film critics and insiders to be an in-competition entry at the upcoming Cannes Film Festival.

Lee's film Secret Sunshine and his film Poetry both premiered as in-competition entries at the Cannes Film Festival. In South Korea, Burning premiered in theaters on May 17, Netflix released Burning on its streaming service on April 29, On its opening day in South Korea, Burning attracted 52, viewers in total, ranking second at the box office behind Deadpool 2 , viewers.

In its opening weekend in France, the film attracted 53, audience in total, ranking third at the box office behind Mile The website's critical consensus reads, " Burning patiently lures audiences into a slow-burning character study that ultimately rewards the viewer's patience -- and subverts many of their expectations.

Los Angeles Times ' s Justin Chang called it "a masterpiece of psychological unease— the most lucid and absorbing new movie I've seen this year, as well as the most layered and enigmatic.

Geoff Andrew of Time Out was similarly positive, hailing it as a "movie rich in teasing ambiguities and possible lies Lee's interest lies not in crime-solving but in exploring Jongsu's emotional confusion Both a slow-burn suspense drama and an intriguing enigma, his film is beautifully executed".

Nick Pinkerton, writing in ArtForum , was more muted, writing that " Burning is strewn with all sorts of information whose exact meaning and validity is impossible to determine The depiction of the female character Hae-mi in the film attracted some criticism.

However, Adam Nayman from Film Society of Lincoln Center [51] argued and emphasized for The Ringer that the story is "told fully from Jongsu's point of view," so "it's fair to ask whether Lee Chang Dong is cultivating true audience solidarity or urging us to understand the story exclusively through the lens of his hero's prejudices: to see Haemi and Ben as idealized and demonized figures, respectively.

This is much, much more than simply a missing woman as plot device: one of the most powerful parts of a film that can comfortably boast a range of achievements is how casually yet firmly the film addresses the pressures on women — not just Hae-mi and her colleagues, but Jong-su's own mother — to live up to financially unsustainable images of femininity in contemporary South Korea.

Burning was selected as the South Korean entry for the Best Foreign Language Film category at the 91st Academy Awards ; although it was not nominated, it became the first Korean film to make it to the final nine-film shortlist.

Burning appeared on many critics' year-end top ten lists for , among them: [64]. From Wikipedia, the free encyclopedia. For the American slasher film, see The Burning film.

Theatrical release poster. Main article: List of accolades received by Burning. Screen International. Retrieved May 24, The Numbers. Retrieved March 8, Adelaide Film Festival.

Retrieved Retrieved 29 September The Film Stage. Mydaily in Korean. The Daily Sports in Korean. Korea Joongang Daily.

The Sports Chosun in Korean. Retrieved 8 September It could be argued that Hae-mi functions primarily to further Jong-su and Ben's arcs, and is devoid of any real agency herself.

An alternative reading, however, is that she is poorly sketched as a character so as to represent a patriarchal society in which women are seen as less complex than men.

For the most part, Beoning avoids didacticism on this issue, but to suggest that Hae-mi is simply a badly written character seems to me to be a very superficial interpretation of a film with great depth.

However, there is also the possibility that Hae-mi doesn't actually exist, and in this sense, the fact that she is presented in such sexualised terms is because she is literally a male's fantasy, a sexual obsession born in the disturbed mind of an unreliable narrator.

The film is told exclusively from Jong-su's perspective, he is in every scene, and the narrative never shifts to another focal character or to an omniscient viewpoint.

With this in mind, everything we see is filtered through his ideological outlook; if he attaches significance to an object, the audience is invited to do likewise.

Lee masterfully handles this tricky structural device, placing the audience directly into the same possibly paranoid headspace as the character.

So, for example, when Jong-su sees Ben yawning as Hae-mi is recreating a dance she learned in Kenya, the yawn becomes immensely sinister, because that's how Jong-su interprets it.

In this sense, if one theorises that Hae-mi is, in fact, a figment of Jong-su's imagination - an idealisation of a beautiful woman who wants him - then Ben must also originate in Jong-su's mind, functioning as the inverse to Hae-mi; a personification of everything to which Jong-su aspires, but is unable to attain.

The fact that Lee leaves this tantalising possibility on the table whilst still managing to analyse social-realist topics such as economics and class, is a testament to his extraordinary control over the material.

One of the most salient motifs, if not necessarily a theme unto itself, is that of disappearance, with references scattered throughout the film - Hae-mi notes that her childhood home is gone, as is the well she fell into; Jong-su recollects how after his mother abandoned the family, his father burnt her clothes; when Ben tells Jong-su about his greenhouse hobby, he states, "you can make it disappear as if it never even existed"; Hae-mi literally says she wants to disappear; when Jong-su asks Ben if it's possible Hae-mi has gone on another trip, Ben says, "maybe she disappeared like a puff of smoke".

The most important scene in this sense is an early one. Explaining that she's learning pantomime, Hae-mi proceeds to mime peeling and eating a tangerine, telling Jong-su the trick isn't to pretend the tangerine is really there, but to "forget it doesn't exist".

This challenge to perception is crucial not just in how Jong-su becomes convinced Hae-mi has met foul play despite the lack of evidence, it also provides a clue for the audience as to how best to parse the film itself.

Of course, for all that, there are a few problems. For one, it's a little too long, and there are occasions when the narrative seems somewhat desultory.

I would imagine that a lot of people will also dislike the ambiguity. Personally, I loved this aspect and thought Lee handled it magnificently, but it certainly isn't for everyone.

A minor issue is that as protagonists go, Jong-su is extremely passive, a character to whom things happen rather than the narrative's driving force.

Again, some people will dislike this aspect, but I think it's important that Jong-su is depicted this way, especially in relation to the final scene.

Of that scene, it could be seen as disappointingly familiar, something seen in any number of standard genre pieces.

I disagree with that, but I can see where the criticism is coming from, as it does conform neatly to the rubric of a quotidian thriller.

All in all, I found Beoning to be a haunting film, one which I couldn't get out of head for days, and I'm keen to see it again. As good an exercise in cinematic suggestiveness as you're likely to see, Lee subtly alters mood so as to manipulate, push, prod, guide, and fool the audience.

The film is such that everything on screen, every word spoken, every background detail could be important. Or not.

Fiercely intelligent, deeply nuanced, complexly layered, it's a film that rewards concentration. It is, simply put, the finely crafted work of a distinct and relevant auteur.

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Use the HTML below. You must be a registered user to use the IMDb rating plugin. Lee Jong-su Steven Yeun Ben as Yeun Sang-yeop Jong-seo Jun Shin Hae-mi Soo-Kyung Kim Yeon-ju Seung-ho Choi Lee Yong-seok Seong-kun Mun Lawyer Bok-gi Min Judge Soo-Jeong Lee Prosecutor Hye-ra Ban Jong-su's Mom Mi-Kyung Cha Hae-mi's Mom Bong-ryeon Lee Hae-mi's Sister Rest of cast listed alphabetically: Wonhyeong Jang Won-hyeong Seok-Chan Jeon Seok-chan Joong-ok Lee Patrolman Ja-Yeon Ok Learn more More Like This.

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Burning Films - Inhaltsverzeichnis

In dem Moment wissen auch die beiden Frauen nicht, wie oder was ihnen geschieht. Aus Sorge um sie und die Katze bricht Jongsu in ihr Apartment ein und merkt dort, dass etwas nicht stimmt. Aber während er mit ihr schläft, hat Jong-su seinen Blick starr von ihr abgewandt und auf die hinterste Ecke des Zimmers gerichtet. Diese bittet ihn darum, nach ihrer Katze zu schauen, während sie eine Reise nach Afrika antritt. Burning Trailer 2 OV. Zu seinem Bedauern ist sie nicht allein: Auf ihrer Reise hat sie Ben Steven Yeun kennengelernt und sich mit dem reichen Südkoreaner angefreundet. burning films Language: English. Rhapsodies As kids, Todd is institutionalized for a murder whilst his twin goes free. He also begins habitually masturbating in her apartment. Prosecutor Hye-ra Ban The Click to see more Party Massacre Genres: Horror. Korean Film Biz Zone.

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Sprachen Koreanisch. Sein Blick schweift übers Wasser, richtet sich in eine ungewisse Zukunft — die wir schon kennen. Originaltitel Buh-Ning. Die junge Frau erkennt ihn als ehemaligen Klassenkameraden und bittet ihn, nachdem sie sich näher kommen, ihre scheue Katze zu füttern, während sie nach Afrika reist. Jongsu ist sehr froh, sie wiederzusehen. Burning feierte seine Premiere am Okja Serien stream abgeschaltet kann man diesen Film schauen? Diese ermöglichen speaking, watchmen remarkable bessere Dienstbarkeit unserer Website. Dabei mache Lee aber nie dasselbe zweimal. Zu seinem Bedauern ist sie nicht allein: Auf ihrer Reise hat sie Ben Steven Yeun kennengelernt und kabel deutschland receiver probleme mit dem reichen Südkoreaner angefreundet. Der Film handelt von Jongsu, der eine alte Schulfreundin wieder phrase erase deutsch join, in die er sich verliebt. Verfolgen Sie alle Spiele im Liveticker. Das könnte dich auch interessieren. Und dann ist Haemi verschwunden. Jeon Jong-seo. Video-Seite öffnen. Beoning: Südkoreanischer Psycho-Thriller über die mysteriöse Dreiecksbeziehung zwischen dem arbeitslosen Jong-su, der sprunghaften Hae-mi und dem privilegierten Ben. Lost Highway. Aber sie read more nahe dran. Jong-seo Jun. Budget. Daejong-Filmpreis [33]. Deine Final, maxdome probemonat that. Der beispiellose Thriller lässt jegliche Konvention hinter sich. Ähnliche Filme. Wenn die Welt im Konsumwahn versinkt, wovon kann man 1 undisputed träumen? Trailer Bilder.

My 80's Horror Movies. To Watch List. Share this Rating Title: The Burning 6. Use the HTML below. You must be a registered user to use the IMDb rating plugin.

Edit Cast Cast overview, first billed only: Brian Matthews Todd Leah Ayres Michelle Brian Backer Alfred Larry Joshua Glazer Jason Alexander Dave Ned Eisenberg Eddy Carrick Glenn Sally Carolyn Houlihan Karen Fisher Stevens Woodstock Lou David Cropsy Shelley Bruce Tiger Sarah Chodoff Barbara Bonnie Deroski Marnie Holly Hunter Sophie Kevi Kendall Learn more More Like This.

The Prowler Horror Mystery Thriller. My Bloody Valentine Happy Birthday to Me Sleepaway Camp The Slumber Party Massacre Maniac Drama Horror Thriller.

Pieces Intruder Horror Thriller. Just Before Dawn The House on Sorority Row Prom Night Blood Rage Edit Storyline A janitor at a summer camp is accidently burned severely from a prank.

Taglines: A legend of terror isn't a campfire story anymore! Genres: Horror. Edit Did You Know?

Eddy, Fish, Woodstock, Marine and Barbara search for the canoes on a makeshift raft. They spot a canoe and paddle to it, but Cropsy ambushes them by jumping out from the canoe and savagely murders them all with his shears.

Glazer has sex with Sally in the woods, but suffers premature ejaculation. When he leaves to get matches for a campfire, Cropsy shoves his shears into Sally's chest.

Her boyfriend returns only for Cropsy to stab him through the neck and pin him to a tree. Alfred witnesses his death and wakes up Todd, but Todd is rendered unconscious by Cropsy who then chases after Alfred.

Meanwhile, Michelle finds the mutilated bodies on the makeshift raft and brings the remaining campers back to the camp to contact the police.

Todd regains consciousness and chases after the killer with an axe. Cropsy grabs Alfred inside an abandoned mineshaft and pins him to a wall with his shears.

Todd discovers Karen's body and sees Cropsy armed with a flamethrower, where he begins to remember being involved with the prank. He is attacked by Cropsy, who reveals his disfigurements, and Alfred frees himself to stab him with his own shears.

Before they can leave, Cropsy reappears and Todd ultimately slams the axe into his face, killing him. Alfred ignites his body with his own flamethrower and they make their way outside to Michelle, who brought the police with her, as Cropsy's body burns away.

At a campfire, another group of teenagers are seen retelling the story of Cropsy. In , Harvey Weinstein was desperate to break into the movie business.

Weinstein and producing partner Michael Cohl recognized the success of low-budget horror films such as The Texas Chain Saw Massacre and Halloween , and began swapping horror stories.

Having heard stories about the Cropsy legend when he was a young camper in upstate New York , Weinstein brought the idea to Cohl, who loved it.

The project was initiated before the popularity of Sean S. The production also bore similarities to another slasher movie in pre-production, a film that would become known as Madman In summer , during a casting call for Madman , one of the actresses commented that her boyfriend was acting in The Burning.

This prompted Madman to change its entire premise, which was built around the Cropsy legend. This change caused story alterations on Madman , and filming on that film was delayed until October Madman ' s delay was costly for the film, as it did not receive a theatrical release until January The over-saturation of genre films competing with each other was one of the side-effects of the early s slasher boom.

Cohl told Variety that he, Weinstein and producer Corky Burger took an early version of the script to the Cannes Film Festival , where it was met with positive reception, although they rejected initial six-figure offers, hoping to land more money once the film had been shot.

This was a similar approach to how Friday the 13th had earned distribution with Paramount Pictures. British director Tony Maylam , known for rock music documentaries in the s, was hired as The Burning ' s director in summer Maylam had met Weinstein and Burger while the producers worked as rock promoters.

The screenplay was written in just six weeks and was sculpted to conform to the emerging genre conventions of the time. As it was, the film takes place mostly outside and is set in summer, so there was only a small window of opportunity to make the film or, perhaps, have to wait until the following year.

Knowing that the slasher craze would not last forever, and wanting to get their film released before it fizzled out, the producers rushed into production.

Again, showing a knowledge of the then in-vogue conventions of the slasher movie, the script showcased a murder every ten minutes in the script.

It was Maylam's idea to make Cropsy's weapon-of-choice gardening shears. The film originally had a different ending.

A script dated July 6, shifted the location to one much more in setting with a summer camp slasher.

Originally, the showdown was to take place in a boathouse. The other big change is that Todd ends up as the " final boy " rather than as the heroic adult, and Alfred is killed by Cropsy.

Other changes included an excised character named Alan, who was to be the love interest for Tiger. This version also ends with a campfire scene, but the last line is different: " And every year he seeks revenge for the terrible things those kids did to him The production company became Miramax , named after Harvey and Bob Weinstein's parents, Miriam and Max, who helped fund the picture.

Cohl admitted that the fact that most of the people behind the production were relatively new to the movie business did cause some problems, and the film did go over budget — with them underestimating how much money would have to be spent on behind-the-scenes elements.

Casting took place in New York in the spring of , and Maylam met most of the cast in person. There was a remarkably quick turnaround, as the start date for filming was August 18, although some shooting may have taken place prior to this date.

Brian Matthews and Leah Ayres were cast first. Ayres already had a successful small screen career. Maylam reportedly insisted that Matthews dye his hair brown, as he did not think he would look macho enough with blonde hair.

Larry Joshua was cast as one of the kids at the camp, even though he was older in real life than either Matthews or Ayres.

Like most of the cast, it was his first role, but led to a long and successful career, mostly on the small screen. The rest of the cast was hired during a series of auditions.

The Weinsteins and Maylam also secured the services of make-up supremo Tom Savini , who they flew to Pittsburgh to meet.

Savini had worked on films such as Dawn of the Dead , Friday the 13th , Maniac , and Eyes of a Stranger Savini turned down the chance to work on Friday the 13th Part 2 , ostensibly because he could not understand the logic that Jason was fully grown and was now the killer, as well as what he described as "miscommunications" with the film's backers.

He also said that he liked the script for The Burning more. Much of the filming took place in and around existing summer camps to give it an authentic look whilst keeping costs down.

The cast wore their own clothes throughout the production. Many of the cast were local to the New York area, and were aware of the Cropsy legend.

In the interview on the MGM DVD, Savini recalls that the cast were literally queuing up to find out how they would die, making him feel like an assassin.

Savini was very hands-on with the production. Savini also did not have much time to put together the special effects for the film.

He only had three or four days to make the Cropsy make-up — the mask was created in his dressing room in-between special effects duties elsewhere on the film.

In Grande Illusions , his first book on his life as a special effects guru, Savini says he based the look of Cropsy on a burnt beggar he had seen as a kid in Pittsburgh, as well as textbooks on burn victims.

However, due to time constraints, the resulting mask was more of a melt than a burn. Ben says he has not heard from her, and doubts she had gone on a trip because she couldn't afford it.

Talking about her in the past tense, Ben says Hae-mi disappeared like ash and that Jong-su was the only person she trusted. He says that it made him jealous for the first time in his life.

Jong-su repeatedly starts to look for clues. He goes to Hae-mi's family restaurant asking if the well story is true, and her mother denies, stating Hae-mi always invented stories and there was no well.

Her mother also tells Hae-mi is prohibited of talking to the family because of her major credit card debt. Jong-su asks the new owners of her old house and they don't recall the existence of the well itself.

Later, Jong-su receives a call from his mother, whom he hasn't heard from in many years. He meets with her and she states that she remembers the well.

One day, Ben finds Jong-su outside his place. Ben asks him why he was there and Jong-su tells that he wants to talk about Hae-mi with him.

Ben invites him up to his party in his apartment where Jong-su finds that Ben has a new cat which he claims is a rescued stray.

Shortly afterwards, Ben's cat runs out of the apartment to the garage and Jong-su calls the cat "Boil", the same name as Hae-mi's cat, and the cat comes to him.

Jong-su tries to leave but is stopped by Ben, asking him if he doesn't want to talk about Hae-mi and Jong-su tells him he no longer needs to do that.

Jong-su starts writing his novel in Hae-mi's apartment. Ben is seen putting make-up on a young woman in his apartment.

Jong-su asks to meet Ben in the countryside, claiming he is with Hae-mi. After Ben discovers that Hae-mi is not there, he asks him where she is, Jong-su proceeds to stab Ben several times.

Stunned at his actions Ben starts crying and hugs Jong-su in his final moments until his death. Jong-su douses Ben's car and body in gasoline and sets it all aflame, tossing his blood-soaked clothes in as well.

He then goes to stumble to his truck, driving away as the car burns. Developed as the work of the international project which was based on one of Haruki Murakami 's short stories in The Elephant Vanishes , "Barn Burning".

When they think of their lives and the world, it must feel like a mystery", at the Busan International Film Festival.

In , it was thought that Gang Dong-won and Yoo Ah-in will feature in the film, but an official announcement was not made.

On September 5, , it was announced that Yoo Ah-in has been confirmed for the role of Jong-su. Principal photography began on September 11, The first film directed by Lee Chang-dong in eight years, [8] Burning was widely predicted by film critics and insiders to be an in-competition entry at the upcoming Cannes Film Festival.

Lee's film Secret Sunshine and his film Poetry both premiered as in-competition entries at the Cannes Film Festival.

In South Korea, Burning premiered in theaters on May 17, Netflix released Burning on its streaming service on April 29, On its opening day in South Korea, Burning attracted 52, viewers in total, ranking second at the box office behind Deadpool 2 , viewers.

In its opening weekend in France, the film attracted 53, audience in total, ranking third at the box office behind Mile The website's critical consensus reads, " Burning patiently lures audiences into a slow-burning character study that ultimately rewards the viewer's patience -- and subverts many of their expectations.

Los Angeles Times ' s Justin Chang called it "a masterpiece of psychological unease— the most lucid and absorbing new movie I've seen this year, as well as the most layered and enigmatic.

Geoff Andrew of Time Out was similarly positive, hailing it as a "movie rich in teasing ambiguities and possible lies Lee's interest lies not in crime-solving but in exploring Jongsu's emotional confusion Both a slow-burn suspense drama and an intriguing enigma, his film is beautifully executed".

Nick Pinkerton, writing in ArtForum , was more muted, writing that " Burning is strewn with all sorts of information whose exact meaning and validity is impossible to determine The depiction of the female character Hae-mi in the film attracted some criticism.

However, Adam Nayman from Film Society of Lincoln Center [51] argued and emphasized for The Ringer that the story is "told fully from Jongsu's point of view," so "it's fair to ask whether Lee Chang Dong is cultivating true audience solidarity or urging us to understand the story exclusively through the lens of his hero's prejudices: to see Haemi and Ben as idealized and demonized figures, respectively.

This is much, much more than simply a missing woman as plot device: one of the most powerful parts of a film that can comfortably boast a range of achievements is how casually yet firmly the film addresses the pressures on women — not just Hae-mi and her colleagues, but Jong-su's own mother — to live up to financially unsustainable images of femininity in contemporary South Korea.

Burning was selected as the South Korean entry for the Best Foreign Language Film category at the 91st Academy Awards ; although it was not nominated, it became the first Korean film to make it to the final nine-film shortlist.

Burning appeared on many critics' year-end top ten lists for , among them: [64]. From Wikipedia, the free encyclopedia. For the American slasher film, see The Burning film.

Theatrical release poster. Main article: List of accolades received by Burning. Screen International. Retrieved May 24, The Numbers.

Retrieved March 8, Adelaide Film Festival. Retrieved Retrieved 29 September

Burning Films Video

Blackkklansman Lee Chang-dongs Burning basiert auf der Kurzgeschichte Barn Burning von Haruki Murakami, doch Lee hat aus dieser nicht nur einen minütigen Film. Wenn die Welt im Konsumwahn versinkt, wovon kann man noch träumen? Der Film „Burning“ verlegt eine Kurzgeschichte von Murakami nach. Film Burning: Jong-su macht Katzensitting bei der hübschen Hae-mi. Als sie später spurlos verschwindet, hat er einen schweren Verdacht. Unser Film der Woche: Hat er sich das alles nur eingebildet, das verschwundene Mädchen, die Brandstiftungen? In dem Thriller "Burning".

Comments

Zurisar says:

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