#cho jin woong

[haveyouseenthismovie-poll]

[Note: This poll is a re-do of an older poll, as the original poll received less than 2,000 votes.]

[seoul-bros]

ARMY Day - The Devil's Deal with Suga

I think it's so funny that BTS members who have no problem standing on a stage in front of 50,000 people still get super shy when they appear at a film premiere. Remember Jin at Emergency Declaration and Taehyung and JK at Dream

This ARMY Day we get to see the story behind this photo of Suga with Lee Sung Min and Cho Jin Woong at The Devil's Deal premiere.

It all came about because of Lee Sung Min's interview on Suchwita.

I'm so used to seeing cocky confident Suga with his members (especially Jimin) but look how adorable he is here getting all shy talking to the cast.

He still made a stellar entry at the photo wall though....

...and he also decided he'd be inviting some international guests to the shown when he hopefully resumes Suchwita after the military.

I can see long time BTS fan John Cena accepting the invitation.

Post Date: 09/07/2024

[toastinthegrass]

[cesowi]

𝖩𝗎 𝖩𝗂-𝗁𝗈𝗈𝗇 𝖺𝗌 𝖩𝖾𝗈𝗇𝗀 𝖬𝗈𝗈-𝗍𝖺𝖾𝗄 𝗂𝗇 

𝖳𝗁𝖾 𝖲𝗉𝗒 𝖦𝗈𝗇𝖾 𝖭𝗈𝗋𝗍𝗁 / Gongjak (𝟤𝟢𝟣𝟪) 𝖽𝗂𝗋. 𝖸𝗈𝗈𝗇 𝖩𝗈𝗇𝗀-𝖻𝗂𝗇

[realllllmew]

Believer 2

[namjhyun]

Lee Sung Min, Cho Jin Woong and Kim Moo Yul for Marie Claire Korea March 2023 promoting their upcoming movie The Devil’s Deal.

[elletudie]

why did they have to make cho jinwoong the most attractive man in the world as lee jaehan in Signal 2016

[tinyreviews]

In a funny way, Na is like the Q(from James Bond) of the story, giving the police convenient gadgets...

The Policeman's Lineage (Korean: 경관의 피; RR: Gyeong-gwan-ui Pi) is a 2022 South Korean action thriller film, directed by Lee Kyoo-man and starring Cho Jin-woong and Choi Woo-shik. The film, based on Japanese novel Blood of the Policeman by Joh Sasaki.

[fansof-heo]

Watching our Prosecutor Choe Jae-yeon for the 2nd time 🥰💖

[halcyonmirage]

Oh my god- reblogging that signal post made me realize I never posted this what the fuck-

It's not...perfect? I think I have a problem in all my portraits that I draw eyes too big for some reason-

Maybe because I'm used to a more cartoon-y style. Anyway, here's Lee Jae-Han.

Still screaming and crying over Signal, I live in constant fear and excitement for what season 2 would be like...If it ever comes. 😭

[whumpslist]

Whumptober 2023 no.7 'Radio Silence'

Signal episode 1.02 "We Still Have a Chance"

Lee Jae-han (Cho Jin-woong) is wounded and talks to Park Hae-yeong through a radio which connects past and present.

@whumptober @whumptober-archive

[sloshed-cinema]

The Handmaiden [아가씨] (2016)

It’s kind of cute when movies have only one twist, right?  The basic outline of Park Chan-wook’s elegant and depraved adaptation of the Sarah Waters novel Fingersmith is simple enough: a poor Korean duo aim to swindle a naive Japanese heiress out of her wealth, seduce and marry her, and then ditch her in an insane asylum to enjoy the spoils.  But as the story unfolds, it is more of a fractal in its structure.  A triptych of perspectives taking in each of the co-conspirators slowly unfolds in turn, revealing the myriad ways in which we are all manipulating and manipulated.  Layers build, folds of pleasure and pain intertwining and overlapping, revealing secrets and exposing intimate truths which had always been apparent but perhaps not immediately noticed.  A simple enough ruse is revealed to be a double-game, but it’s not even so simple as that.  Betrayal begets betrayal, and between Sook-hee, Lady Hideko, and our so-called Count Fujiwara, everyone thinks that they hold an ace up their sleeve at all times.  Escape can be promised, for escape is what is needed: both Hideko and Sook-hee have had traumatic upbringings, and “Faux-jiwara” asserts he suffered greatly to become the conman that he is in the narrative.  But as structured by our Count, escape is a self-serving plot.  He claims to go through the motions to help at least one woman in this ménage à trois, but finding him lying in a bed of money reveals his true self-serving motive.  When people say what their interests are, believe them.  Rather, Hideko and Sook-hee find release in their collusion and companionship, forging a genuine partnership as they plot to break free of their oppressive influences and make a new life for themselves.  This requires great sacrifice on both of their parts, but represents the only true emotion experienced by any two characters in this film.

Pleasure and pain, as experienced by Sook-hee and Hideko, is the crystalline structure at the center of The Handmaiden.  The two are inextricably linked, by circumstance and desire alike.  These two women’s love is clouded not only by heteronormativity, but by their desires to break free.  In a certain regard, the apparent betrayal at the asylum is asexual; “Sook-hee” as an identity simply wants not to suffer, whomever that woman may be.  But this is true of the greater sexual superstructure built into this remote and twisted world.  Hideko is always greatly tired by her reading sessions for her uncle-cum-husband, though the reasons for this initially remain clouded.  As the dark secrets of this household are revealed, as the film steps past the snake guarding the gate of knowledge in this reading room, the true nature of these sessions are revealed.  This is puppetry, the usage of a woman groomed for pleasure from an early age, allows for imaginative role-play by the men attending these sessions.  No matter how aesthetic you make the reading room, no matter how performative the augmentation to the reading itself, this is the work of impotent men seeking to control and fantasize about women, manipulating them like marionettes.  Uncle Kouzuki is an entirely false man, a self-hating Korean turned Japanese national who tortures individuals for pleasure.  His tongue and lips are stained with book ink, indicating his literary sexual proclivities.  Even when torturing Fujiwara in the close, he has to rely on fictional reference points to describe sex, recounting and taking revenge for texts which he lost by the women’s sexual rediscovery on this man he’s captured.  Fujiwara, too, operates on a field of lies, viewing himself a domineer and yet wholly incompetent.  At least our two antagonists mutually self-annihilate.  I only wish I knew what Kouzuki would have done with that octopus.  Park Chan-wook, you have your kinks…

If much of the film dedicates itself to the notion of nurture (if it can be called that) triumphing over nature, at least the close offers a rebuttal.  Throughout the dramatic cycle of ruses and lies that informs much of the structure, everyone is a false actor.  Lies flow freely and everyone is bound by their previous experiences.  Everyone uses words and phrases which they’ve heard before in other contexts to garner favor or sow fear.  Sook-hee assures Hideko about her troubled birth by using things she’d heard before, and Hideko preys on Sook-hee’s smitten nature by stealing how she’s “alone in this world” to seem more vulnerable than she really is.  The initial sex scene between Hideko and Sook-hee, initially organic and erotic, becomes manipulative once we know that Hideko has read out plenty of scenes of this nature and is not, in fact, a complete naif.  And yet there is release.  In a closing scene of passion, Hideko and Sook-hee enact the “bells” erotic novel, but it’s just for their mutual pleasure.  They’re united and freed from this toxic and controlling death-spiral even as their supposed masters destroy themselves.  I can only hope that in the future, Hideko becomes a drag king, because werk, bitch.

Park Chan-wook is fucking funny.  There’s so much humor buried in this subversive narrative in the camera language and timing of the edits.  Pratfalls, people running about like dipshits, that fucking pussy-eating POV shot.  And yet he’s deeply erotic when the moment calls for it.  “Ladies are just dolls for maids,” Sook-hee muses as she unbuttons all of those buttons on Hideko’s dress.  It’s humorous, to a degree, but also sensual, especially when Hideko reciprocates the gesture.  Another layer of performance in this performative vision of sex, yet they can realize it in a constructive way.  That darkness haunts the periphery in the hangings of generations of women here.  It’s oblique at first, Sook-hee discovering the beautifully braided rope by which Hideko’s aunt allegedly hanged herself.  It remains with Hideko as a threat from her uncle.  Later, Sook-hee “hangs” her mother figure in a silhouette with her braid, and saves Hideko from suffering the same fate.  The bonds of control reclaimed by those meant to limit them.

I really need to call out the searing, lush, romantic and fraught score furnished by Jo Yeong-wook.  Fucking phenomenal.  As with the architecture of the home, the score melds flavors of English and Japanese traditions and instrumentation to create something achingly beautiful, bringing to mind the likes of James Newton Howard within the film world, or perhaps Samuel Barber within the classical canon.  The “My Tamako, My Sook-hee��� cue is an all-timer, far as I’m concerned.

THE RULES

SIP

Someone opens a door.

Inner monologue begins.

Sook-hee has to come up with a lie.

A reading session begins.

BIG DRINK

A part intertitle appears onscreen.

Kozuki licks his pen.

TOO MANY BUTTONS

Octopus imagery.

[for-yoongi0309]

[toastinthegrass]

Kim Won Bong was a Korean independence activist, and politician. His nickname was 'Yaksan' 

[k-star-holic]

Lee Do-hyun Breaks Up With Ahn Eun-jin for Revenge ⁇ I Don't Know How Much You Love (Bad Mother)

[mokkung]

（短評）映画『最後まで行く』

（引用元）

『最後まで行く』（2014年、韓国、原題：끝까지 간다、英題：A Hard Day）

人を轢き殺したことを隠蔽しようと車で遺体を持ち去った男、しかしその遺体をよこせと謎の人物から電話がかかる💨

面白い‼️

魅力的な登場人物たち、次々とテンポ良く手に汗握る展開が続き、多数の謎が次第に繋がる良脚本‼️

予測不能で観る者を釘付けにしてくれるサスペンス映画‼️

絶体絶命のような展開が何度か続くのですが、それが自然で映画全体を見終わっても整合性のある配置になっており、とても良くできた脚本で面白かったです👌

またこちらをハラハラさせるようなちょっとした演出がとても上手い🌟

「え、どうなるのこれ？」という気持ちが全く切れないのは見事‼️

どいつもこいつもダメなやつばっかりなんですが、みんなどこか人間くさくて、時折見せる良心や正義感などが際立って良い👍

主演のイ・ソンギュンの小物っぽさが良かったですが、同僚のチョン・マンシクも素晴らしかったですね‼️この人、他の映画でもそうですが、名脇役だと思います🌟