One is a famous female director who was led by a local director and his wife, the other is a rich wife who secretly went to South Korea to cheat with a Korean director, and the other is a poor woman who was ruthlessly abandoned by her husband because of a Korean woman. Pell's experience in South Korea and what he saw and heard as a girl named Anna formed this "In a Foreign Land", which contains natural ingenuity. Hong Sangxiu's style has always been my favorite type, and there is no ordinary Korean film tape. The unusual and strong sense of heaviness and oppression revealed when criticizing, looking directly at, or reflecting on reality gave me the style of European literary films and the freshness of Japan, like an elegant and charming evening breeze. , it makes people feel comfortable to watch without pressure, and Hong Sang-soo can be said to be one of the few writers and directors in South Korea who has a distinctive style of his own.
She has always been a fan of Huppert's brain, and her gestures and smiles are all dramas. It seems that she has already risen to the top level of drama lovers. For her unique and dazzling charm and profound acting skills, it is like a The deadly temptation gathers people's admiration. As long as there is her participation, the quality and standard of a movie will basically be there. And Hong Sangxiu seems to have discovered the introverted, deep and tense side of Huppert through "In a Foreign Country", but has captured the lovely and lively little woman's feelings hidden in the depths of Peel's heart. Under the attire of a youthful fashion model, dealing with Koreans who speak broken English, the collision of two cultures and some witty little plots are quite interesting and cute under Hong Sangxiu's consistent expression techniques. Through Hong Sangxiu's lens, Yu Peer didn't look like an aunt who was over fifty years old at all, but more like a naive and innocent girl.
Some ideas on the plot of "In a Foreign Land" are also worth scrutinizing, such as the seemingly three different fruitless endings between the lifeguard and Anna, still touching and romantic songs, unreadable verses, and finally the seemingly absent answers , as well as the laughing fruit bursting out of the third paragraph of the answer between Anna and the master, this kind of humour and the integration of ideas add a lot of color to the film. It is difficult to tell the specific and substantial themes of "In a Foreign Land". The intention from beginning to end seems to be quite subjective and vague, but the integration of certain essential factors and details is still there. This piece seems to consist of three sketches. style story composition, in which there are two men in common, one is a film director, the other is a lifeguard, and their inner purpose also has one thing in common, that is, strong lust, whether it is the first veiled repression Either it is revealed, or it is the second paragraph that is jealous and resentful because of the possession of desire, or the third paragraph is impulsive and straightforward, or it is the lifeguard's repeated desire and obsession with Anna, Hong Sangxiu is still the same. The repeated performance is an understatement but a poignant mockery of men being at the mercy of desire.
Compared with the plot that can be summed up in one sentence, the structure of the whole film is more commendable. Hong Sang-soo makes use of wonderful editing and interludes, as well as the mutual complementation of the virtual and the real (the second paragraph of the superposition of dreams and reality, with Anna's unexpected surprise and loss, while giving the audience a kind of emotional ups and downs and drop), plus some clever settings (the same umbrella used by Anna in the first and third paragraphs and the same location where she hid it, and left behind on the beach) The causal relationship before and after the shochu bottle on the top seems to be ingeniously created), which creates a strange space-time illusion and connection, and derives a logical and effective reverie, which can be regarded as three short stories of Anna with different identities, or It can be seen as the overall story of the same Anna's experiences in different time periods and different identities. It can be said that Hong Sang-soo has shown the charm and flexibility of the image quite cleverly and wisely. Through "In a Foreign Land", we can see Hong Sang-soo What Shang Xiu wants to embody is not a profound or moving plot, but the rich features, powerful effects, and infinite possibilities that an image can have in terms of technique and structure.
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