Oasis

This is one of the most beautiful and sensible films you can ever see. So-ri Moon's performance is incredibly real that until a dream-like sequence I thought that she really had had cerebral palsy. Kyung-gu Sol was transmitting perfectly the behaviours and the glances of a 10 yeas old boy in the body of a 29 year old men.

The visual effects were applied brilliantly: white dove and the passing from reflection of light to white butterflies... Gong-ju's favorite color.

This is a film which can make you believe the purity of an man who committed 3 crimes and who tempted to rape a disabled young woman. This is film makes you believe in love, makes you sad, angry, happy. Shortly; this film gives you all that cinema should.

At the beginning of the "L'Abri"-screening (which I discuss somewhere else) at the film market MIFED in Milano, CJ Entertainment's young sales responsible asked me: "Which Korean films have you bought?" - "All of them", I answered, to make a point: Korean's movies were just unbeatable in 2002. Then I confessed that I was actually a journalist, not a buyer. The young man surprised me with another question: "Did you cry at the end of 'The Way Home'?" - "No", I said, thinking of my grandmother, "actually I cried at the end of OASIS."

Movies should move viewers. No hight tech genre film can beat what goes straight to your heart. The love of a naive, warmhearted fool (Sol Kyung-gu as Jong-du) to a spasmic beauty (Moon So-ri as Gong-ju) that is unable to walk and clearly articulate herself is attacked by both of their families. It could be considered a love between handicapped and thus underline the demand for a change of law which seems to have its flaws in Korea as well as here in Germany. Prohibited is the unthinkable, i.e. the sexual demands of those who are stigmatised to not have them. The sad outcome of the events is lightened by the unchangeable affection of the male protagonist. Feminists might argue against the easy way in which the attempt to rape the spasmic woman turns into mutual love. The real challenge for the excellent actress Moon So-ri was indeed to transmit whether we see joy or pain in her wincing mimic. Have you ever asked yourself how a person suffering from cerebral palsy would look during orgasm? See for yourself. The elegant camera moves from the common theme of the movie to dreamlike scenes where all of Gong-jus illness is gone. Her dancing with a young elephant had the same non-intellectual humor as the tree-cutting of Jong-du. When the lights go on in your theatre, you might ask yourself how deeply YOU are able to love.

Oasis is a love story of truly unique proportions. It is simply unlike any movie you are likely to see.

Confronting, unusual, at times violent, but also heartbreakingly honest.

Lead by a stunning performance by So-ri Moon, and ably assisted by Kyung-gu Sol. The two bring amazing humanity to two very difficult and unusual character. So-ri in particular is brilliant, flawless and complex in her portrayal of the disabled Gong-ju Han. Her performance should be watched by any aspiring actor or actress as it is astonishingly good.

The plot is difficult to describe without it sounding bizarre and unrealistic, but the direction and script transcend any difficulties the subject matter brings up, and ultimately deliver the viewer with an unrivaled experience in what cinema was meant to do. That is, show us life, in all it's intricate forms, to inspire us, challenge us and help us grow.

Oasis is a power-house of modern cinema. An instant classic. It shows difficult characters, going through difficult situations, and the director has refused to water-down any aspect of the film, making it very confronting for the viewer.

Yet another in a growing list of Korean films that have blown me away. Their industry is the best around in my opinion, combining the technical abilities of the big-budget Hollywood films, with the personal, human stories that you would see in European cinema, but doing this with an obviously Asian aesthetic. If you like Kong Kong or Japanese films, I recommend stepping up to Korean films, they are generally more personal, and shot with as much visual gloss as anything from the US.

The director had been known in Korea as a novelist before he started to make films. That must be the reason why his films give us always the impression that they are deeply literary much more than cinematic.

"Oasis" is a very literary film like his other films, but it also gives us the specific pleasure to watch movies by the imaginary scenes dreamed by a handicapped woman named Gong-ju, for instance. These scenes are sentimental, but they are incredibly beautiful and delicate (these pigeons and butterflies flying in her room, for example). And the scene where Gong-ju sings a song to another protagonist Jong-du must be one of the most beautiful scenes of "confession of love" ever depicted by a film. That is the moment, I am sure, when this film takes suddenly on the features of something sacred.

The director says this is a film about "border" as well as "communication." And in order to show the difficulty of communication and/or of going across the border, he tried to make Jong-du an abominable and disgusting person, especially at the beginning of the film. If you feel uncomfortable when you start to watch this film, you should consider that such discomfort was intentional even though the behaviors by Jong-du seem to be extremely violent and selfish. And you should also be patient until the "miraculous" moment of the "mutation" (from vulgarity to holiness) comes. You will certainly forget about the discomfort you had felt.

And this is naturally a film about Love. It shows us just "one of" the forms of love, should I probably say, since the one shown in this film is too special and peculiar, but still I am tempted to say: "This is the Love."

I though of "The Legend of St. Julian Hospitator" by Gustave Flaubert, but I do not know if I should expect that the protagonists would be called under the name of the "saints" or so. And I also remembered the heroine Sarah of "The End of the Affair" by Graham Greene. Sarah writes in her diary, thinking of her lover named Maurice, with whom she had decided not to meet again because of the promise with God: "I'm not at peace any more. I just want him like I used to in the old days. I want to be eating sandwiches with him. I want to be drinking with him in a bar. I'm tired and I don't want any more pain. I want Maurice. I want ordinary corrupt human love."

Once swore to God to separate from his lover, Sarah wants him always, being full of desires and wanting "corrupt human love" even just before her death. She stayed secular and even vulgar until the end, even though the author must have wished to lead her to the path toward God. And that is just why Sarah, that miserable mortal, stays always in my mind.

Same thing for Gong-ju and Jong-du. Their happiness may exist in this real world full of prejudice and discrimination, where ugly desire or ordinary cheapness of human life smears them. But it may also give them pleasure to love, to help each other, and/or to share something precious between them. They do not need God, but they just need each other.

Nobody knows whether or not the future will congratulate them in the end, but probably, as did the director, should I leave them in the room of Gong-ju, where many dusts floating in the air are shimmering with the sunlight, and Gong-ju seems to be smiling, reading the letter from Jong-du. We don't know if they will be able to finish their story, but anyway, they have started it. Everything is now up to them.

10/10.

The premise of this story challenges both of its romantic leads to use their bodies to convey the characters' emotions. Jong-du, played by Sol Kyung-gu, is an awkward ex-con whose older brother calls him immature but he seems a little crazy, or maybe mentally deficient. His family reluctantly helps him out, but he is an embarrassment and a nuisance to them.

Gong-ju (Moon So-ri) is a woman with cerebral palsy whose family is just as bad as Jong-du's. When Jong-du begins to visit her an odd relationship develops, with each bringing the other an acceptance and appreciation neither has felt before.

Moon So-ri's performance is so convincing I actually thought she had c.p. until a fantasy sequence showed what Gong-ju imagined herself doing if she were not disabled. But it's not just the contortions of c.p. that she portrays. She manages to show every possible emotion within the confines of c.p. spasms and she brings the character to life with a fully developed range of emotions and intellect.

Sol Kyung-gu's body language is just as effective, though his performance is easily overshadowed by Moon So-ri's. He is by turns menacing, sweet, dim-witted, shy, playful, inconsiderate and contrite, and most of this comes out through his body language.

I saw this movie with English subtitles, but the acting is so effective that you almost don't need to read them.

p.s. keep three hankies handy