A detective falls for a mysterious widow after she turns into the prime suspect in his latest murder investigation. Box officeUS$17.2 millionDecision to Leave is a 2022 South Korean neo-noir romantic mystery film produced, co-written and directed by Park Chan-wook. In April 2022, the film was selected to compete for the Palme d'Or on the 2022 Cannes Film Festival, where Park Chan-wook won Best Director. Decision to Leave was launched theatrically on 29 June 2022 in South Korea.
Park isn't any stranger to the competition, having won the Grand Prix for “Oldboy” in 2003 and final showing with “The Handmaiden” in 2016. Explore the history and individuals who run Cinema/Chicago & join the staff. See which movies impressed critics on the just-concluded seventy fifth Cannes Film... Here what at first looks like curiosity, rapidly turns into an obsession. An obsession that doesn't seem to be repressed and but never explodes despite the precise fact that the two individuals concerned are fully conscious of the state of affairs, and each reciprocate their emotions. The solely fault that can be taken from the movie is said to the script.
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At once a masterfully-crafted police procedural and an incisive meditation on the nature of love and identification, Decision to Leave is a tour-de-force of neo-noir filmmaking. Hitchcockian to its core, the film’s gleefully twisting plot keeps audiences guessing because it spirals toward an epic conclusion. Winner of the Best Director prize at the Cannes Film Festival, veteran auteur Park Chan-wook expertly weaves together each intriguing thread as he spins this haunting tapestry of homicide, madness, and deceit. The fact is that the primary half of this movie, regardless of its very strong craft, has a script that could have been a Bruce Willis erotic thriller within the Nineties with barely a rewrite.
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As the very married Hae-jun seeks to get rid of the newly widowed Seo-rae as a murder suspect, sly flirtation evolves right into a mutual recognition of kindred spirits, which blossoms into a forbidden, if chaste, love affair. If The Handmaiden was Park’s riff on the English drawing-room melodrama, Decision to Leave suggests Alfred Hitchcock’s Vertigo as filtered by way of an anal-retentive tackle Law & Order. An avid climber, Ki Do-soo (Yoo Seung-mok), has tumbled to his dying from a mushroom cloud-shaped mountain and hotshot detective Hae-Joon (Park Hae-il) suspects homicide. As the police investigate the scene, Park mounts a formalist present that should be the envy of even that grasp of cinematic homicide investigations, David Fincher.
Park Chan-wookwriter
Stuck in an affectionate marriage that bores him, Hae-Joon is weak and given to shortcuts; an insomniac and possibly a depressive, he’s by no means entirely awake or asleep. Hae-Joon is actually susceptible to Seo-rae , the mountain climber’s widow and prime homicide suspect. Seo-rae is a Chinese immigrant who married an older South Korean man working within the restrictive immigration department, which is to say that she has a historical past of flattering men for personal gain.
If Decision to Leave is not fairly on the identical level as Park Chan-wook's masterpieces, this romantic thriller remains to be a outstanding achievement by another metric. Tap "Sign me up" beneath to receive our weekly publication with updates on motion pictures, TV exhibits, Rotten Tomatoes podcast and more. Email AddressPasswordNameBy signing up, you conform to ourterms & conditionsandprivacy coverage. Keep monitor of the movies and show you need to see + get Flicks e-mail updates. Throughout, one usually feels the plot machinations working towards Park Chan-wook’s poetry, though in a couple of instances poetry wins out.
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Park’s most obvious touchstone is “Vertigo,” Hitchcock’s elegant 1958 l’amour fou a couple of detective who falls in love with a lady he thinks he’s lost only to search out and lose her once more. Park scatters several amusing nods to the Hitchcock picture all through “Decision to Leave,” notably with lurid close-ups of eyes, rooftop chases and a gnarled tree jutting atop a treacherous precipice. Like the detective in “Vertigo,” Hae-joon — who periodically uses eye drops — spends a great deal of time wanting at the girl he falls in loves with, though whether or not he ever truly sees her stays a question that’s teased throughout the story.
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There’s also a reference on this scene to spousal abuse, which issues most for a shot of an X-ray of an arm that’s rhymed with a close-up of Hae-Joon’s arm in mattress in a while, as he rhapsodizes over Seo-rae. Viewers will recall this picture later in Decision to Leave, when it’s reprised again to symbolize the hallucinatory demise of a pivotal character. The interrogation scene is loaded with formalist bravado and thematic resonance, but it’s so busy that it doesn’t work up even rudimentary curiosity about Seo-rae’s function in the crime at hand. If The Handmaiden was Park’s riff on the English drawing-room melodrama, Decision to Leave suggests Alfred Hitchcock’s Vertigo as filtered via an anal-retentive tackle Law & Order. An avid climber, Ki Do-soo (Yoo Seung-mok), has tumbled to his dying from a mushroom cloud-shaped mountain and hotshot detective Hae-Joon (Park Hae-il) suspects homicide.
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Hae-joon finds himself indulging in stakeouts, virtually falling asleep on the street as an alternative of in his mattress at home, whereas Seo-rae appears almost excited to be a part of Hae-joon’s mystery. Both of these characters are pretty reserved, but Park Hae-il and Tang Wei’s performances present the will and fervour that's buried just underneath the surface, virtually ready to burst out of their skins. Sometimes a dying cigarette isn’t only a cigarette, however an intimation of later smolder and ash. While Hae-joon’s solicitousness toward Seo-rae can learn as sweetly thoughtful (or stalker-ish), his investigation rapidly morphs into fascination after which life-changing, brain-fogging obsession. Under the duvet of his detective work, he insinuates himself into Seo-rae’s life — or does she coax him in? Decision to Leave full movie loves her, however whilst they grow shut, he remains distrustful.
Even together with his best films, I actually have at all times discovered Park's difficult narratives and his surprising violence somewhat self-deliberate, self-indulgent, and a bit bloated. Here, there are less gimmicks, and the movie simply feels extra earnest, although it is nonetheless a complex story. Given that "Decision to Leave" resembles "Vertigo", some might need presumptions relating to Park's eroticism, which invaded his earlier movie "The Handmaiden" (Ah-ga-ssi, 2016), but such reservations are unfounded. Curiously, "Decision to Leave" holds again in its portrayal of romance and erotic rigidity. In the movie's most intimate scene, Hae-jun and Seo-rae trade a little bit of lip balm. "Decision to Leave" could not persuade completely, but it is still, to my thoughts, Park's most intriguing work.
Park Hae-il and Tang Wei play off one another superbly in Chan-wook's darkly humorous and expectedly lovely film. Loudandclearreviews.com must evaluate the safety of your connection before continuing. This evaluation originally ran May 23, 2022, for the film’s world premiere on the Cannes Film Festival.
Decision to Leave is not any completely different, although it may feel that way for an hour or so. Half of this could be Park's most accessible film but, a rom-com thriller during which a detective falls for the suspect in a homicide case. We've seen this earlier than (à la Basic Instinct or Sea of Love), but once more, by the actual fact that this is a Park Chan-wook movie, Decision to Leave was at all times destined to be completely distinct. It’s the type of film that looks like, even after multiple viewings, it will still appear to be a thriller – leaving you second-guessing and questioning plot points and little moments. What isn’t up for dispute, though, is how gorgeous the movie is...
There’s even Go Young-pyo as his Busan partner, the comedic aid who's stabbed viciously in one of many film’s parallel subplots however by no means returned to. It’s his sense of restraint and the substance of his love story, however, that makes what may have just been a clever check-out-these-moves exercise really feel like a genuinely emotional showstopper. Rnately and ingeniously plotted as it's, Decision to Leave is a cautious, wounded love story first and a procedural puzzle second, powered by what appears a sincerely soulful attraction between two people who know nothing — however by some means see every little thing — of each other. As a story, lacks the verve and dynamism of his early action films. As a portrait of obsession and remorse, it’s remarkably subtle and satisfying. Park nonetheless cares about obsession, driving anger, and suppressed unhappiness — all the issues that preoccupied him as a younger filmmaker.
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The biggest concern I even have with the film is Tang's portrait of the wife Seo-rae. The spouse was the core, the most important character in the film. For this movie to work the spouse should have been portraited as lovely, charismatic, enigmatic with a hidden disappointment and innocence. A lady that can make the audience feel for and believe whatever she says. I do not thoughts seeing a gradual crime-drama-mystery so long as it is has a great partaking plot and has good interesting characters but these are things that this movie doesn't have. The central romance plays its own tricks amidst all of the secrecy & revelations that floor every now n then and a few scenes even manage to face out but the film's intentions remain shaded regardless of never dropping its intrigue.
Then, visual gags that make violence feel like a lark or depravity a gift urge us to cackle in the dark of the theater. Co-written by Park and frequent collaborator Jeong Seo-Gyeong , Decision to Leave's will-they-won't-they couple appears plucked straight from a movie noir. He's a giant metropolis detective tasked with fixing homicide mysteries. She's the merry widow of a person who died in a weird mountain-climbing occasion — and the prime suspect.