After Asian-wide "Three (2002)" where Jee-woon Kim contributed to the "Memories" segment and "Three... Extremes (2004)" where other Korean master, Chan-wook Park, messed with our minds with "Cut", Jee-woon Kim works here with Pil-sung Yim to give us an all-Korean short film anthology classic.
Pil-sung Yim, who was in attendance at the FantAsia Film Festival screening, writes and directs the first and last segments, while Jee- woon Kim who was in post-production for his first Hollywood project "The Last stand (2013)" sent us a video detailing the hardships he is facing in the big Hollywood machine and light-heartedly prefacing his short film "The Heavenly Creature" which he classifies in the genre of philosophical science-fiction.
7/10 "A Brave New World"
Pil-sung Yim starts it off with a meticulously constructed take on the zombie/vampire apocalyptic movie. It is endearing, funny and poetic. It tries not to take itself too seriously, but nether does it tries to take the audience for a fool. It actually develops charming characters and then delves into a deluge of disconcerting destruction, before leaving with an open-ended finale. Note that the alternate ending was an American nuclear bomb, but the actual ending fits much before with the rest of the film.
9/10 "The Heavenly Creature"
This far from formulaic robot story is in fact the crux of this trilogy and drips with deep dialogue and introspection while being sparkled with humour, sweetness, sexiness and tension. A full on societal and moral commentary here from the writer/director of the high calibre, haunting "A Tale of Two Sisters (2003)" with an enlightened robot who perhaps surpassed his creators in wisdom and the battle of sorts between capitalism and Buddhism. It explores finality, fear, faith, fate and the future in a thoughtful tapestry of tasteful interactions.
8/10 "Happy Birthday"
The last segment is a preposterous post-apocalyptic scenario that pacts loads of laughs, especially with the dramatization of a newscast presenting the unfolding doom of the world. It flows well and follows to an adequate conclusion of this science-fiction segment and film.
All in all, Doomsday Book breaks boundaries in the quality of the stories and in the directorial distinction in dealing with death and end of the world scenarios with humour, pose and serenity.
May this futuristic film live long and prosper.
Pil-sung Yim, who was in attendance at the FantAsia Film Festival screening, writes and directs the first and last segments, while Jee- woon Kim who was in post-production for his first Hollywood project "The Last stand (2013)" sent us a video detailing the hardships he is facing in the big Hollywood machine and light-heartedly prefacing his short film "The Heavenly Creature" which he classifies in the genre of philosophical science-fiction.
7/10 "A Brave New World"
Pil-sung Yim starts it off with a meticulously constructed take on the zombie/vampire apocalyptic movie. It is endearing, funny and poetic. It tries not to take itself too seriously, but nether does it tries to take the audience for a fool. It actually develops charming characters and then delves into a deluge of disconcerting destruction, before leaving with an open-ended finale. Note that the alternate ending was an American nuclear bomb, but the actual ending fits much before with the rest of the film.
9/10 "The Heavenly Creature"
This far from formulaic robot story is in fact the crux of this trilogy and drips with deep dialogue and introspection while being sparkled with humour, sweetness, sexiness and tension. A full on societal and moral commentary here from the writer/director of the high calibre, haunting "A Tale of Two Sisters (2003)" with an enlightened robot who perhaps surpassed his creators in wisdom and the battle of sorts between capitalism and Buddhism. It explores finality, fear, faith, fate and the future in a thoughtful tapestry of tasteful interactions.
8/10 "Happy Birthday"
The last segment is a preposterous post-apocalyptic scenario that pacts loads of laughs, especially with the dramatization of a newscast presenting the unfolding doom of the world. It flows well and follows to an adequate conclusion of this science-fiction segment and film.
All in all, Doomsday Book breaks boundaries in the quality of the stories and in the directorial distinction in dealing with death and end of the world scenarios with humour, pose and serenity.
May this futuristic film live long and prosper.