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The Handmaiden
??? (2016) Full Movie HD
- 2016-06-01
- 145 min.
- Thriller, Drama, Romance
- CJ Entertainment, Moho Film, Yong Film
- Kim Min-Hee, Kim Tae-Ri, Ha Jung-Woo, Cho Jin-woong, Kim Hae-sook, Moon So-ri, Lee Dong-Hwi, Lee Yong-nyeo
- Chan-wook Park, Chan-wook Park, Sarah Waters, Syd Lim, Chan-wook Park, Chung-hoon Chung, Young-wuk Cho, Kim Sang-beom, Seong-hie Ryu
- 8.1 Count: 88
- Korea, 1930s. A con man hires a pickpocket to become the maid of a mysterious and fragile heiress, in an attempt to seize her wealth. But the story takes a twist when the lady falls in love with her maid.
- pickpocket, korean movie
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Review
i saw a trailer a while ago and i am a huge fan of the director so my expectations where quite big...I consider Park Chan-Wook an amazing story teller with a strong point of you and respect to his characters. The amazing thing its that i was not disappointed! Unique story ,mysterious protagonist , romance, revenge and beauty. Anything someone is looking in a movie he will find here. i truly hope this movie will go for and be enjoyed by manny viewers..i must say that it contains a lot of one on one nude girl power but its only to tell the beautiful story between the girls! i read also that the movie its from a book ..i am so glad he made the adaption between two countries that share a past like Japan and Korea' I am very ignorant so after the movie i started to google about the real handmaiden there. over all grate picture ..frame after frame i never took my eyes off of it Park Chan-wook is one of the most versatile directors around. Sure, Park seems fixated on tales of vengeance but never does the worn theme feel like a detractor in his films. Oldboy and Snowpiercer add intricate layers which transform the initial quest for revenge into other issues entirely. The Handmaiden is a movie that keeps the best traits of the South Korean director. Sure revenge underlines the narrative and yet the film is not entirely about revenge. Likewise, the Handmaiden is an erotic thriller and isn't an erotic thriller. A lesser director would hone in on the pornographic but the film never undercuts one of the meta-messages found within the film. Without spoiling Handmaiden, a Clockwork Orange is a film with a similar meta-commentary directed at the audience. Instead, the erotic scenes give the intended effect without going full throttle. The result is a lesbian love story which accentuates emotion over physicality. Male directors have a tendency to get a little excited with lesbian love stories and turn an otherwise amazing movie into pornography. Blue is the Warmest Color is a recent example of a film which could have utilized a little restraint required of its subject matter. The central "love triangle" in the Handmaiden is given an air of realism due to the level of restraint. Most characters are never who they appear to be throughout the film. In fact, the three chapter structure of the film allows for the rare successful attempt at having more than one plot twist. Film veterans are likely the only group of people who can put the puzzle pieces together early on. The twists never come across as cheap gimmicks thanks to the cinematography. The gorgeous mise en scene is spellbinding with the amount of variation found in limited locations. In spite of the lavish designs, the camera never hides character ticks one can begin to hone in on. The Handmaiden contains a lot of the admirable traits one might in a Stanley Kubrick film (the Clockwork Orange reference is not entirely pulled out of a hat). However, the middle-aged Korean director is able to separate and maybe transcend Kubrick in his use of overt dark humor. Manchester by the Sea is another serious film which also successfully utilizes humor to create a humanistic story. Kubrick usually utilizes dark comedy for an entirely different effect. The Handmaiden is an absolutely must-see for those who appreciate cinematic greatness.
Subverting the trope of feminine subservience and the male gaze, Park Chan-Wook's latest thriller is fiercely anti-patriarchal. Inspired from Sarah Waters' contemporary romance novel set in Victorian-era Britain, Park transports his story to 1930's Japanese-occupied Korea. Parallels can be seen between subjugation of women by men and that of Korea by Japan; clash of culture, class and identity. It exposes and condemns the bare-faced misogyny brought upon by class and culture. Being a tale about deception, Park makes sure that we are one of its casualties as well (through its efficient narrative structure); nothing is as it seems. I repeat, 'Nothing'. Each of the four main characters are pursuing a vision of freedom that can be achieved only through a lie; the story explores the tension between the authentic self and the facade that individuals create, and that society imposes from without.
The tradition of men eroticising the female body (and even lesbian sex) for their own personal fantasies has existed for ages now - whether it's books, films, paintings, manga, any kind of art - and pornography in general (shunga is referenced in the film); Park highlights this, then lets the female protagonists explore their sexuality for their own pleasure, not anyone else's. One wouldn't have expected Mr. Park, known for his exquisite revenge thrillers, would give us the best romance film of the year (not to say this isn't a revenge thriller as well). It's essentially the story of two women who are victims of their circumstances and finally find solace in each other. The female characters may appear duplicitous, but actually, they subvert the expectations of the people around who constantly underestimate their wit and sexuality.
The gorgeous visuals, the compulsive attention to detail and crisp editing get you hooked from the very first scene. Loved the efficient and subtle use of humour at apt instances; absurdist humour underlines even the most tragic and violent moments. The casting couldn't have been better; both the actresses are stunning, and captivating in their performances. Their characters are so thoroughly developed, and the sex scenes are highly erotic and sensual. Park masterfully constructs his narrative, dividing the film into three segments, each with its own narrator, sub plot and con. Even when previous moments are visited, they are done from a different angle or vantage point, thus altering our perspective literally. I love how the film's climax literally ends with a climax, with the two women reveling in the silly freedom of acting out a pornographic clich� mentioned earlier in the film. Ultimately, the movie is about embracing one's true self, and the liberation of mind and body. It's Park's most uplifting film yet.
This is a film about deceit. In fact, each of the three characters are double-crossing one of the others in one way or another. What do you get when the double-crossers are double-crossing each other? Triple-crossing? Then that's what it is.
The film is set in Korea during the Japanese occupation. Two women and a man are engaged in complicated shenanigans, involving gender, sexual preference, social class, nationality and even language. Each character is pretending, in order to deceive the others.
In each of the three parts, a new level of deceit is shown. Sometimes parts of the story are repeated from another angle, to show how things are slightly different from how you think they were. Confused? Don't bother to understand. It'll all become clear when you see the film.
Visually, this movie is absolutely great. Each scene, even if it lasts for only a few seconds, is beautiful. The lighting, the camera angles, the costumes, the scenery, the make-up - everything is picture perfect.
The flip side is that the visual perfection takes away much spontaneity. The film is extremely stylish, perhaps even a bit too much so. But the visual bravado is not empty. There's a lot going on at each moment, and the imagery is always in line with the story itself. Only the explicit lesbian sex scenes seem to go on longer than strictly necessary - but who am I to complain?
I had no idea what this would be about, and the film was all the better for it. It goes through many different story turns and it's a testament to how well done they are that they don't feel like easy cheats or manipulations to get the audience emotionally invested. The acting is fabulous as well. The editing of the film really helps it move along briskly and helps the story too with its emotional weight. I definitely didn't know what to expect but I would highly recommend this. It's a film that will hopefully get nominated for the Oscar and hopefully gain a lot of awards traction, it definitely deserves it. Can't wait to see where the film takes off from here.
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Julieta
Julieta (2016) Full Movie
- 2016-04-08
- 96 min.
- Drama, Romance
- El Deseo, TVE, Canal+ France, Cin� +
- Emma Su�rez, Adriana Ugarte, Daniel Grao, Inma Cuesta, Michelle Jenner, Dar�o Grandinetti, Rossy de Palma, Nathalie Poza, Agust�n Almod�var, Mariam Bachir, Pilar Castro, Jorge Pobes, Bimba Bos�, Susi S�nchez, Priscilla Delgado, Tom�s del Estal, Blanca Par�s, Esther Garc�a, Joaqu�n Notario, David Delf�n, Paqui Horcajo, Sara Jim�nez, Elena Benarroch, Ram�n Aguirre, Charles Centa, Jimena Solano, Mar�a Mera, Lupe Roda, Ram�n Ibarra, Lola Garc�a
- Pedro Almod�var, Alberto Iglesias, Jean-Claude Larrieu, Pedro Almod�var, Jos� Salcedo, Agust�n Almod�var, Esther Garc�a, Diego Pajuelo, B�rbara Peir�, Antx�n G�mez, Carlos Bodel�n, Federico Garc�a Cambero, Sonia Grande, Toni Novella, Alice Munro
- 6.6 Count: 119
- The film spans 30 years in Julieta�s life from a nostalgic 1985 where everything seems hopeful, to 2015 where her life appears to be beyond repair and she is on the verge of madness.
- spain, sex, depression, baby, secret, nudity, lover, pain, female friendship, marriage, friendship, autobiography, love, loneliness, mother daughter relationship, pregnant, hospital, single mother, guilt, death, happiness, childhood, maturity, mother daughter estrangement, flashback, madrid spain, memories, troubled family
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Review
-Julieta is a 2016 Spanish film written and directed by Pedro Almod�var based on three short stories from the book Runaway (2004) by Alice Munro. The film marks Almod�var's 20th feature and stars Emma Su�rez and Adriana Ugarte as older and younger versions of the film's protagonist, Julieta, alongside Daniel Grao, Inma Cuesta, Dar�o Grandinetti, Michelle Jenner and Rossy de Palma. The film opened on 8 April 2016 in Spain to mixed, but largely positive, reviews and a smaller box-office opening than most of the director's films. It made its international debut at the 2016 Cannes Film Festival, where it was selected to compete for the Palme d'Or, and will be released across the world throughout the summer of 2016.--Critical reception:
-Reviews for Julieta were mixed, but largely positive, and generally much less critical than those Almod�var received for his previous film I'm So Excited (2013). Rotten Tomatoes gave Julieta a score of 66% based on reviews from 29 critics; Metacritic gave the film a weighted score of 63/100, based on 10 critiques, which indicates "generally favourable reviews".
-The film drew praise from critics in Spain, including La Vanguardia, who compared Julieta to the female-centric films of George Cukor and Kenji Mizoguchi while noting hints of Alfred Hitchcock in Almod�var's screenplay.
-Julieta had a warm reception at the Cannes Film Festival, which was followed by extremely positive reactions from French film critics, including Le Monde who called it "a beautiful film of very pure sadness" and La Croix who thought the theme of guilt was a welcome new addition to Almod�var's work, calling Julieta "a beautiful and intense film".
-The British press were very positive about the film: Screen Daily labelled the film "an anxious, tantalising creature which returns the Spanish director to the exclusive world of women" and stated that Almod�var's "distinctive voice (grows) in texture and depth with each new production".
-American critics tended to have more mixed feelings, like Variety, who stated that while the film was "a welcome return to the female-centric storytelling that has earned Almod�var his greatest acclaim, it is far from this reformed renegade's strongest or most entertaining work".
I'm a big fan of Almod�var's work, his movies follow my life since I was a teenager, I always adore his early work, movies like "Kika", "High heels" and "Women on the Verge of a Nervous Breakdown" are still considered by me as the height of his career - a bizarre comedy- dramas with a kinky side and raw edges.
in the late 90's Almod�var became famous worldwide with movies such as "live flesh" "all about your mother" and "talk to her" a melodramatic movies that touched us with a unique approach and vivid colors.
this movie is similar to his big successful movies from the late 90s: the women are in the center of the story where the men pushed aside, there is still a melodramatic approach and lots of mysteries that similar to an onion, piled up slowly, layer by layer until the very end of the movie. the colors are vivid like most of his movies, especially the red color, a sign of passion for Almod�var, just like his Characters who drive themselves by their total passion to life and love.
so, is that movie good? if you want to compare it to his best and famous work - "all about your mother" and "talk to her" then this movie will lose the fight, it's less sophisticated and the plot has less twists, but still it's a good movie with a touching plot, good acting and a great director who hasn't lost his touch.
When a worthy artist gets to develop his work for a long time, we who follow his work are usually lucky enough to get new phases, new developments, reworks of his themes, and so on. That is the case with Almod�var, and I don't know whether this film will be the first of a certain new phase, but it stands out in his work
What he tries here is to gather the pieces of female souls which are more often than not the building blocks of his best work, and map them into the territory of the cinematic suspense as understood by Hitchcock. It's pretty ambitious and clever when you think about it: The audiences will recognize the genre, and go with it. So he uses the channel of genre, but twists the content. It's not a whodunit but it probably worked on me as a kind of an emotional noir. So this probably is the closest Almod�var will ever get to making a genre film. In promotional interviews he assumed is attempt at making the whole thing as restrained as possible, and as such it is interesting to see him setting himself rules and refining his intuitions with reduction instead of enhancement, as he usually does.
He proposes an emotional puzzle, the story of a broken soul, already know to the older Julieta, but not to us, and certainly not to the young Julieta. So the overlapping of the young and older Julieta becomes crucial in the understanding the narrative dimension that he proposes: 2 different actresses, and effectively two different characters, with a common set of memories, or better still: the younger exists in the memory, or as a memory, of the older. Both are obviously interconnected, and the writing device here is that the life and decisions of the young Julieta forms the basis for the emptiness of the older one. But we learn about the past mostly because the older Julieta writes about it, each half of her soul co-creating the other half. That's the device and the beauty of it. The connection point is underlined with a shot where a towel is dropped over young Julieta's face, and when it is lifted we find the suddenly aged, broken older one. That shot will be remembered, and again it has a kind of narrative economy which Hitchcock probably tried and mastered better than anyone else. That's the pivot to the whole concept.
He than fills the narrative with a by now standard emotional field of relations and connections: Julieta casually knows a man on a train, while feeling repulsion towards another one whose presence as a symbolic meaning. He enters his life, already crowded by two women: one sinister Psycho/Rebecca type of mother figure, played by Rossy de Palma, and the other one who works on the level of desire, sexual fulfillment, played by Inma Cuesta. Julieta is an intruder, who comes to replace the figure of the wife in coma. She breaks the triangle first by removing the mother figure, and unwillingly causing the tragedy by trying to remove the sexual sculptor who creates phallic shaped artworks. Her daughter (conceived on a train) links the older Julieta to her former life. Julieta becomes Almod�var's Vertigo, his woman who lived twice. But she is Stewart and Novak in one divided character, that's the trick.
Other references to fate and destiny, like the menacing sea tempest announcing tragedy, the suicidal character on the train, or the Herrmann inspired soundtrack are only there to build the mood of this sentimental noir, built in chapters more separated and clear than anything Almod�var has ever done. I'm guessing most of each section's inner structure was borrowed from Munro's short stories on which this is based, which i haven't read. But the working of the character's sounds Almod�var. New (or renewed) but still him. A part from the already mentioned towel shot, the train section is the bit which worked better for me, the one where all the dynamics of the film are condensed and reduced.
You may enjoy Julieta (2016) more if you know that it is a women's film from the melodrama genre and a story of pure emotion. While it is labelled a romance it is nothing like a romance and don't expect light entertainment or laughs as the film is devoid of humour. What is does have is an outpouring of quintessentially maternal guilt and self-absorbed loss that is palpable throughout the film. While critics may be divided, this is a beautiful film with a long aftertaste.
We meet the attractive widow Julieta just as she is packing to leave Madrid and move with her boyfriend to Portugal. Madrid is full of painful memories, the most intense of which is not seeing her daughter Antia for twelve years. A chance encounter with her daughter's former best friend opens an uncontrollable torrent of guilt which suddenly fills Julieta's life. Abandoning her boyfriend, she decides to stay in Madrid in case Antia ever looks for her. Unable to deal with her grief in any other way, she writes the story of her life as if she is talking to her absent daughter.
Julieta narrates the story in chapters that become extended flashbacks to her early romance with Antia's father, their lives together as a family and its eventual disintegration. What was once a life full of loving relationships becomes one of multiple losses even though Julieta herself bears little blame for the tragedies. Julieta is unaware how deeply her daughter was affected by what happened and is bewildered when Antia searches for spirituality at a Swiss retreat. Her sudden disappearance without explanation has left her mother with unresolved grief.
As each chapter unfolds we see the larger portrait of the mother and daughter relationship in all its dense complexity and destructive power. The narrative teasingly denies us knowledge of why Antia refuses all contact with her mother, and year after year Julieta mourns each passing birthday as if it was a funeral. The storytelling intensity is sustained by finely nuanced acting from the two stars who play the younger and older Julieta, and those who play Antia at different ages. The camera-work has a melancholic sensitivity that resonates with the Spanish landscapes and urban settings, and while the story unwinds slowly, to tell it more quickly would lose depth and meaning. Julieta is a darkly sensitive essay about the universal emotion of maternal guilt and its melancholy lifts like a rising fog with a masterfully ambivalent ending that soars.
When in Madrid these days, for a cinephile, don't miss the chance to watch Almod�var's latest drama in the cinema, earlier than its Cannes debut later in May, and there is an afternoon screen with English subtitles catering to Anglophones.
Adapted from three short stories from Alice Munro's RUNAWAY and transposed the story to the modern-day Madrid, in the opening Julieta (Su�rez) is a middle-aged woman who is going to embark on a new chapter with her boyfriend Lorenzo (Grandinetti), moving to Portugal. But a chance encounter with Beatriz (Jenner), her daughter Ant�a's old friend, jolts her to change her mind, she leaves Lorenzo and relocates to the apartment where she and Ant�a had lived in Madrid, where she unlocks the door of her hidden memories, the past comes rushing in.
In the flashback, a young Julieta (Ugarte), at the age of 25, met Ant�a's father, a then-married fisherman Xoan (Grao) on a night train, they engaged a passionate consummation after witnessing a suicidal incident, Julieta was pregnant. By the time of their next meeting, Xoan's long-time bed- ridden wife would just pass away, and a new nuclear family would form. But, when Ant�a (Delgado) was away on a summer camp, a tragedy happened, the aftermath would result in Ant�a's pertinacious determination of not contracting Julieta ever again, after leaving for college. So back to the present day, after learning about the news of Ant�a for the first time in 12 years, it is understandable that Julieta cannot make peace with the painful secret, will she finally get the forgiveness from her only daughter? Or, whether or not she should be blamed?
It is a guilt trip for Julieta to stressfully unveil her side of experiences, two deaths, although are not directly caused by her, but somehow, she feels accountable, Munro's judicious dissection of one's inner inquiry about life's capriciousness feels a tad solemn and innately incongruous with Almod�var's wheelhouse, maybe after his previous outlandishly self-indulgent romp I'M SO EXCITED (2013), he decides to go dead serious this time, only the end product is defective in both witty enlightenment and emotional catharsis when all the plot-line is laid bare.
Multi-colored palette is still Amod�var's unvarying trademark, strewed in the film's contemporary settings and costumes, Su�rez and Ugarte are not Amod�var's regulars, but both shoulder their narrative with engaging gusto, and the requirement of the former's performance is more challenging, and Daniel Grao, presents himself with unabashed allure, but, it is Rossy de Palma as a blunt-talking maid, steals the sole laughters and imprints with a singular mark on how a close-up of her intense stare can summon so many unsaid judgements from her character.
JULIETA cleverly ends before heading into a more conventional reconciliation, it all leaves up to audience's own imagination. Honestly speaking, Almod�var is a marvellous story-teller, his knack of telling a run-of-the-mill story with a captivating arc, and his earnest sympathy on female characters, bodes well for his auteur reputation, even though JULIETA doesn't reach the height one might have anticipated, it is not at all a fiasco in any regard, but a pardonable misstep, which actually happens to almost all the venerable filmmakers.
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