South Korea may have made big inroads on American TV recently with “Squid Game” and “Pachinko,” and the country’s intriguing film and television industry also has a stronger-than-usual presence at this year’s Cannes Film Festival. “Squid Game” star Lee Jung-jae’s political thriller “Hunt” premiered as a midnight screening early in the festival; Davy Chou’s “Return to Seoul” landed a pre-Cannes deal with Sony Pictures Classics and is one of the hits of the Un Certain Regard sidebar; and Japanese director Hirokazu Kore-eda is in the main competition with “Broker,” his first film shot in South Korea in the Korean language.
And on Monday, veteran Korean director Park Chan-wook premiered his new film, “Decision to Leave,” as part of Cannes’ main competition.
Park is no stranger to the festival, having won the Grand Prix for “Oldboy” in 2003 and last appearing with “The Handmaiden” in 2016.Park’s films, whether they are his propulsive and violent “Vengeance Trilogy” of “Sympathy for Mr.
Vengeance,” “Oldboy” and “Lady Vengeance” or the statelier and sultrier “The Handmaiden,” are nothing if not stylish. He’s one of the most accomplish visual stylists in international cinema, managing to make even the most prosaic locations in “Decision to Leave” – a police station, a parked car – look alluring and dramatic.He also has a fondness for oversized stories that grow more complex as they develop, with “Decision to Leave” a formidable 2 hour, 18 minute mixture of crime story, love story and meditation on loss.
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