#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]

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

[cesowi]

𝖩𝗎 𝖩𝗂-𝗁𝗈𝗈𝗇 𝖺𝗌 𝖩𝖾𝗈𝗇𝗀 𝖬𝗈𝗈-𝗍𝖺𝖾𝗄 𝗂𝗇 

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

[realllllmew]

Believer 2

[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.

[theaggresivepacifist]

it needs to be said

no movie or set of characters exemplifies "she lived, she served [you know what], she died" more than Assassination (2015). Can I offer you dark brooding Ha Jung Woo in a tuxedo firing two guns at the same time?!?! Jun Ji-hyun in a wedding dress shooting wedding guards with a pistol concealed in her bouquet and extra magazines in her stockings?!?! Oh Dal-su and Lee Jung-jae with truly next-level-appalling mustaches but also completely owning the vibe?!?! Cho Seung-woo as a revolutionary leader on the run coolly ordering his bodyguards around?!?!? All in the name of fighting colonial powers and restoring a free Korea??? With opulently rich 1930's costumes and mise en scene??? HELLO???

[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. 😭

[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.

[k-star-holic]

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

[theflixdiaryproject]

"for a long time I’ve wanted to give you a gift. it’s quite humble, but if you don’t dislike it, please accept it." - Ri Myong-un

Park Seok-young (Hwang Jung-min), a.k.a Black Venus is a South Korean spy who is sent on a covert mission to infiltrate North Korea’s inner circle during the 1990s, a time of heightened tensions and political manoeuvring between the two Koreas.

read my review below (may contain spoilers):

watched November 27th, 2024 on netflix

this is prolly the best political movie I’ve ever watched, hands down. I was kinda expecting some kind of action-packed James Bond-esque spy thriller, but nope - Gongjak is completely different. and I mean that in the best way possible. it doesn’t try to wow us with explosions or death-defying stunts. instead, it’s all about the quiet tension, the slow burn of strategy, and the insane layers of deceit and double-dealing. what’s fascinating is how it captures the 1990's so well, during South Korea’s election period, with such authenticity. it feels so real, like I’ve actually gone back into that time (although I wasn't born yet when the movie takes place ahaha). the long shots and wide lenses let me soak in every detail. the backgrounds, props, and even the tiniest objects are like characters themselves, telling stories without saying a word. every shot is so stunning, I struggled a bit to pick screenshots for this review ahaha. I’m not joking when I say this entire movie could be framed and hung in a gallery. it’s really that photogenic. the aesthetic? on point. seriously, everything just looks good. from the sets to the costumes, and yes, even the people. and well, I actually watched this moive for Ju Ji-hoon. he looks so different from his usual roles that I almost missed him, but let’s just say, no complaints here. he’s sleek and polished here, but there’s this rawness to his character that totally fits the tone of the movie. but I also love other actors, especially Hwang Jung-min who is the main lead here.

I gotta say, there’s something deeply human about this film.. even with all the big political stuff going on. sure, it doesn’t really hit me in the gut emotionally, apart from a few moments here and there that feel a bit flat, but the final scene? oh-em-gee. I don’t know how anyone could laugh at that. I sobbed like a fool. it’s such a small, quiet moment, but it’s packed with so much emotion. I actually had to pause the movie for several seconds and collect myself before I finished the movie. the story shows how politics is such a messy, manipulative game. I learn quickly that no one’s truly innocent here. everyone’s got their own agenda. and trust? forget about it. by the end, I feel so bad for the spy, used and discarded like he’s nothing. it’s tragic and frustrating, but it also makes me think; can this cold war between North and South Korea ever end when it’s all about propaganda and power struggles? watching this, I can’t help but wish these two countries would put their differences aside; like siblings fighting over nonsense when they’re clearly meant to be on the same side. this film is a masterpiece. it’s quiet but powerful, subtle yet inspiring. this movie leaves me with this strange mix of hope and sadness. hope that someday, North and South Korea can find their way back to each other.

final verdict: I totally loved it!!

maturity rating: 13+ genre : drama, thriller, political duration: 2h 17m (137 mins) country of origin: South Korea language: Korean, Mandarin, Japanese screenplay: Yoon Jong-bin, Park Myeong-chan, Kwon Sung-hui based on: inspired by true events major cast: Hwang Jung-min, Lee Sung-min, Cho Jin-woong, Ju Ji-hoon

[toastinthegrass]

[movienized-com]

Daewoebi: Gwonryeok-ui Tansaeng

Daewoebi: Gwonryeok-ui Tansaeng (2023) #WonTaeLee #ChoJinwoong #MuYeolKim #LeeSungmin #YeoEunSon Mehr auf:

대외비 / The Devil’s Deal Jahr: 2023 Genre: Krimi / Drama / Thriller Regie: Won-Tae Lee Hauptrollen: Cho Jin-woong, Mu-Yeol Kim, Lee Sung-min, Yeo-Eun Son … Filmbeschreibung: Hae-woong, ein Kandidat für das Parlamentsmitglied, wird aus dem Rennen geworfen, weil er zu einem Dorn im Auge des lokalen Magnaten Soon-tae geworden ist. Geplagt von Geldverleihern, wegen Nichtzahlung von…

[korelist]

SIGNAL // KDRAMA DİZİ YORUMU

UYARI : Yazılar genel olarak spoiler içerebilir. İçermeyedebilir.

İmdb:8,5 Benim puanım: 9

Drama: Signal

Hangul: 시그널

Director: Kim Won-Suk

Writer: Kim Eun-Hee

Date: 2016

Language: Korean

Country: South Korea

Cast: Lee Je-Hoon, Kim Hye-Soo, Cho Jin-Woong, Kim Won-Hae

tvN10 Awards - October 9, 2016

(Individual) Grand Prize (Cho Jin-Woong)

Best Actress (Kim Hye-Soo)

PD's Choice Award (Lee Je-Hoon)

Content Main Prize

2016 (5th) APAN Star Awards - October 2, 2016

Best Actor (mini series) (Cho Jin-Woong)

Best Screenplay (Kim Eun-Hee)

2016 (52nd) BaekSang Arts Awards - June 3, 2016

Best Drama

Best Actress (Kim Hye-Soo)

Best Screenplay (Kim Eun-Hee)

Birçok kez birçok ülkede farklı şekillerde aynı konu işlendi. Filmleri yapıldı, dizileri yapıldı. Tek tek isim vermeme gerek yok ama çoğu kişi en azından birini hatırlıyordur. Günümüzden biri, telefon/telsiz/radyo gibi bir cihaz ile geçmiş ile iletişime geçiyor. Bu kişi bazısında kendisi oluyor, bazısında babası oluyor, bazısında ise tanımadığı bir yabancı. Temelinde geçmiş ile kurulan iletişim şeklinde bir kurgu yatarken senaryo bunun üzerine farklılaşıyor.

Signal de Kore dizilerinin altın çağı 2016 yapımı bir dizi. Oyuncuları başarılı hikayesi sağlam ve bir sürü ödülü kucaklaşmış. Park Hae-Young (Lee Je-Hoon) küçükken kötü bir olay yaşar ve sözünü polislere geçiremediği için onlardan biri olmayı hedefi haline getirir. Sonunda amacına ulaşmış ve profil uzmanı olmuştur. Karıştığı bir dava sonucunda bazı insanları kızdırarak kendisini "Çözülmemiş Davalar Birimi" ‘nin parçası olarak bulur. Tesadüfen bulduğu bir telsiz ile Lee Jae-Han(Cho Jin-Woong) adına bir dedektif ile konuşmaya başlar. Gece yarısında belli bir süre kadar açılan bu telsizle konuştuğu kişinin 15 yıldır kayıp olduğunu sonradan öğrenir. Üstelik şuan bulunduğu ekibin amiri Cha Soo-Hyun(Kim Hye-Soo) 15 yıl önce Jae-Han’ın ortağıdır. Üsttekilerin; bir süre sonra kapatıp ekipten kurtulmak için kurdukları bu birim 10 yıldan fazla süredir çözülememiş davalara bakacaktır. Neyse ki ekipte 15 yıl öncesiyle konuşabilen biri vardır.

Şakası bir yana konu aşağı yukarı bu şekilde. Dizi üç çizgide ilerliyor. Geçmişte Jae-Han’ın yaşadıkları, günümüzde Hae-Young’un yaşadıkları ve bakılan davalar. Şimdi burada bir duralım. Aslında bu zamanda yolculuk konuları benim kırmızı çizgim. Kafa karıştırmadan paradoks anlatabilen senarist benim gözümde yok denebilir. Zamanla oynayanlar bir yerde pes edip, yaptım olduculuğa geçiyor. Bu dizinin o kısmını takdir ettim. Kafa karıştırmıyor, seyirci gibi düşünerek hareket ediyor.

Dizi belli bir temponun altına hiç düşmedi. Her bölüm seyirciyi çekmeyi başarıyordu. Üstelik bu tempoyu içinden çıkması çok zor bir konu etrafında koşarken yakalayabiliyordu. İzleyiciyi hiç karanlıkta bırakmamasını ayrıca sevdim. Açıklaması gerekeni paşa paşa açıkladı. Öyle havada kalan, halının altına süpürülen bir şey olmadı. Çok dallandırmadan, geçmişte değiştirilen bir şey gelecekte her şeyi tamamen değiştirebilir noktasına da çok güzel parmak bastılar. Hatta bunun üzerine geçmişteki bir şeyi değiştirmek, şu anda istediğin sonuçları vermeyebiliri de çok güzel örneklendirdiler. Yani geçmişte yaşanılan bir olayda birinin hayatını kurtarmak onun kısa bir süre sonra başka bir olayda ölmeyeceği anlamına gelmiyor. Bu tarz buzda yürünmesi gereken konuları başarılı kotaran bir dizi olduğunu düşünüyorum.

Dizinin ilerlediği çizgilerden biri olan geçmişte çözülmeyen davalar, birbirinden bağımsız gibi görünse de bütün davalarında bir şekilde bir yerlere bağlanması bence çok yerinde bir tavır olmuş. Üstelik bunu yaparken izleyici hiç irkilmiyordu. Öyle bir bölüm bir dava bakalım diğer bölüm başka davaya geçelim yerine kendi içinde bir akışı vardı. Ben diziler ile ilgili yorumları izlemeden önce okumuyorum. O yüzden bu dizi hakkındaki yorumlarda beni olumsuz etkilemedi. Beklentim yoktu mesela, bu kadar başarılı olması ekstra hoşuma gitti. Bu bir beklenti ile izleyip hayal kırıklığına uğramanızdan iyidir diye düşünüyorum.

Sıra dışı ekibimizde Kim Gye-Chul ismi ile yer alan Kim Won-Hae ise yine şahaneydi. Deneyimli oyuncu her dizisinde kendini belli ediyor. Dizinin küçük bir kadrosu var. Bu küçük kadroda herkes üstüne düşeni yapıyor. Final!! Benim için tam bir şoktu. Birçok kişinin finalden hoşnut olmadığını düşünüyorum. Ama sakin kafayla bakınca aslında en olası finallerden biriydi. Bunun yerine ben biraz daha uzun çekilmesini tercih ederdim. 16 bölüm değil de 24 bölüm olabilirdi. Ucunu izleyicinin hayal dünyasına bırakmak yerine şöyle şanıyla şerefiyle kendisi toplardı.

Ve son olarak dizinin müzikleri enfesti. O kadar dizi izledim, gerçekten müzikleri ile bir adım öne çıkan dizi sayısı bence çok azdır. Bu dizinin müziklerine bayıldım, bayıldım.

OST:

Kim Yuna - The Road

Inkii - The one who will Leave

Jeong Cha Sik - I will Forget You

Raven Melus

BAŞKA NELER VAR ?

FOTOĞRAFLAR

[witlessficcer]

Such a great drama.

1k Followers Celebration Event: ↪ Anonymous asked Signal 📻 or Taxi Driver

Even if you change the past, some things remain. The world will always be unfair.