similarities to the latter's Gangs of New York and Goodfellas. So, your Holiness, now your priests are dead, and I am left alive. And the grandfather, whom the family thought was an honored Communist hero, has been living in South Korea all these years. And it is that packed crowd that was just as much a part of my If You Were Me 2 experience as the shorts themselves. A gifted actress, she is able to bring her characters alive without the slightest hint of artifice or exaggeration. And of all the films I saw at the 10th piff in 2005, none was more sutured in my brain when leaving South Korea as this one, making me quite happy to hear that it ended up winning the New Currents Award. At this point, Professor Kim is wishing that this summer's horror film crop turns out to be at least a moderate improvement over the 2004 fiasco. Director Kim nicely utilizes color to black and white transitions as well as a discordant soundtrack to note when the narrative is shifting. Kim's new film Way To Go, Rose! In fact, as Wegehaupt would later elaborate for me in an email, "While it may be the perspective of a minority, within Korean cultural mores there exist the means to freely accept and support the new phenomenon of public homosexual identities." Perhaps nothing supports Wegehaupt's. Contrary to our expectation, Bong does not linger on the eroticism of his young cast in a drooling, trench-coat-crowd-pleasing way.
My favorite of the shorts was Jung Ji-woo's, "A Boy With The Knapsack a sparingly dialogued, black and white study of the lives of North Korean (illegal) refugees in South Korea. Director Choi Ho, who previously helmed the interesting Who Are You? In the story, Scrooge, a pessimistic old miser, is haunted by four ghosts who strive to teach him what Christmas and life are all about. Despite being well-executed and funny, See You After School probably falls into the same category - it is charming, but very familiar. But in terms of sheer kinetic energy and chutzpah it is outdone by the mid-point chase sequence, in which Tae-su and Seok-hwan are pursued by seemingly a hundred or more teenage thugs, brandishing weapons ranging from baseball bats to hockey pucks and even employing capoeira. These structured dilemmas have us de-romanticizing every truism about love and authenticity. The packed crowd at 2005's piff who saw this film along with me laughed continuously at Kim Su-yeon's character (who has been in Ryoo's films Die Bad, No Blood, No Tears, and Crying Fist a character who learns the lesson be careful who you hate. Who hasn't felt the impotence grandparents rights thesis of not being able to complete a confession of love let alone maintain a romantic relationship dear to them? And of course Baek Yoon-shik is on hand to present us with another virtuoso performance, this time infusing his old shyster with an almost Taoist sense of mock serenity (a hint of self-delusion is there, as well).