Man-choo

Anna and Hoon sit in a restaurant and observe other couples talking to each other. Since they cannot hear what the others are saying, Anna and Hoon fill in the words for themselves and laugh at what they come up with. It is just one of the fantastic scenes in this captivating, whimsical and unpredictable romance and drama.

Anna is on leave from prison to attend her mother's funeral. Hoon is a charmer, con and gigolo on the run from the angry husband of one of his clients. They meet on a bus headed to Seattle. Anna is cold, depressed and lifeless. She has suffered much abuse in her life and is in no mood for more of the same, but Hoon is so charming and persistent that he begins to draw her out of her shell. As Hoon confronts those who treat Anna badly, she begins to see these negative people in a new light and realize what is holding her back. In helping Anna, Hoon may even break free from the same demons.

The chemistry between Wei Tang (Anna) and Bin Hyeon (Hoon) is definite and palpable. In answering questions after this world premiere Kim Tae-Yong claimed, with laughter, that this was because both actors do not speak English very well, and neither speaks the native tongue of the other (Chinese and Korean). "They were more perceptive this way" he said. There is evident truth to the claim. The acting is superb. There were abrupt changes in pace, sound and scenery, and I was captivated by the effect of each switch. I was surprised by the ending. Spoken languages include English primarily, Mandarin and Korean. Seen at the Toronto international film festival.

It's good to have company. Life does not belong to just beautiful and perfect people. Everyone deserves a chance at life.

This film tells a love story of two strangers who do not use a lot of words to share their innermost feelings. Some may find it boring or confusing with the abstract concepts, weaving the intricacies of life into each and every scene, but it made my brain cells work. Melancholic mood, slow paced, gloomy Seattle, trilingual(English, Korean, Chinese). Raw. It's deep and beautiful. I love it! Binnie and Tang Wei were perfect for the roles as Hoon and Anna.

I loved watching their 2 minutes and 27seconds kissing scene. Oohhlala! The longest in Korean film history!

Released on February 2011. #HyunBin #TangWei #LateAutumn

The film opens with a severely beaten Anna (the always beautiful Wang Tei) desperately struggling to come to terms with what led to the death of an, as of yet, unidentified male. Much of the film operates in this fashion, providing the viewer with enough of a taste to comprehend what may have happened, however, rarely definitively illustrating an exact answer, allowing the audience's imagination to fill in the blanks. On one hand, this has the unique feel of independent cinema, and allows viewers much freedom, though at the same time, can become frustrating, considering we, the viewers, long for completeness to quench our thirst for knowledge.

Seven years later, in the midst of a prison sentence, Anna is given a three day furlough to visit her mother's funeral. On the way to Seattle, she bumps into Hoon (Hyun-Bin), who asks her to lend him money for bus fare, and though he promises to pay her back, Anna shows little interest. Ms. Tei convincingly plays a woman who has become disillusioned and pessimistic from her time in prison, while exhibiting melancholy in a city which has changed since she was last there.

By chance, she meets Hoon once more, who offers to take her around Seattle. Hoon is, for lack of a better term, a gigolo, however, his explanation sounds far more advertising, though at the same time, he seems painfully romantic, garnering feelings for some of the women he meets, despite being required to maintain his professionalism.

On the run from the jealous husband of a woman who fell in love with him two years earlier, Hoon is a man whose life has taken a turn for the worse, much like Anna's, yet continues to maintain optimism and confidence, that attracts her to him. Surrounded by judgemental relatives, Hoon is the one man who accepts Anna for who she is.

The chemistry between the leads is especially great, there being a number of equally dramatic and humorous moments to behold. Moreover, a number of scenes are very memorable, including a moment when Hoon and Anna break into an amusement park, alongside another time when Anna discusses some of her past.

The multiple locations are brilliantly brought to life by the cinematography, which further draws us into the experience, while the use of sound and music is just as effective.

By the conclusion of the film, I was left feeling a little empty, for unlike other features, that serenade us with fantastical plots of everlasting love, director Kim Tae-Yong never tries to force anything. Instead, he creates a feature that feels very genuine, right down to the painful reality that not everything is destined to end happily ever after, despite our wishful thinking.

(Half of the film is in English, while the other half is sub-titled).

It suprise me they way they found each other in their hardest time of their life but with honest and pure heart they accepted each other. The fact life has dull and not bright colour...they met in halfway....

This movie has the right colour tone to bring the emotion. I enjoyed the process of Anna and Hoon being closer each time..love it.

This movie reminds me of a story told in "Days in the Cloud". A boy fell in love with a demure and beautiful girl at first sight. He expressed love to her and asked if he could continue to communicate in the future. The girl turned back and her eyes were as clear as water. She said, I will enter the monastery tomorrow. "What if I fall in love with you?" The boy asked. "That's like lighting a candle in a bright room." The girl replied. So the boy left in amazement.

"Light a candle in a bright room", what a futile thing. You shine, but you can't shine, you are warm, but you don't snuggle, you slowly exhaust yourself, the red tears drop, the wax torch becomes gray, but no one takes care of you. It doesn't matter if you are more or less, the world will not change at all, and it will still be brightly lit and bustling. You are like an invisible clown with open teeth and dancing claws, but you can't make everyone smile, bored, boring, stupid, in vain, vain, and hot, you work hard, there is no place for you.

Lighting candles in a bright room is like hopeless love. No return, no results, no future, would you like to make such a stupid candle? The boy who fell in love with the nun must have been unwilling. Although he was sad, he left rationally.

Although Tang Wei has no makeup in the movie, his clothes are bleak, and his expressions rarely change. Although Xuan Bin 's handsomeness is very naive and the skills of coaxing women are quite old-fashioned, although the autumn wind in Seattle is lingering, the street scene is sluggish Knowing that their ending is bleak and gradually approaching the end, but I still feel that this is a warm story. Calm but not cold, looking at each other without despair, just like autumn, the sky is cold and the trees are full of dead branches and leaves, but there is a warm autumn sun spilling from the gaps, spotted, and touching.

The scammer and the female prisoner met in strange ways, but secretly fell in love. They are clearly "lighting candles in a bright room." After three days, one is going back to prison and the other is desperate. They ca n't change each other 's destiny, but in the end, they still change something, a gentle sorrow. Zhong rose slightly, which makes the relationship between the two people have a "doom warm" meaning.

Who said shining love must make this world magnificent? They didn't light up the room, but they light up each other's hearts.

At the end of the movie, she was finally released from prison and waited for him in the agreed cafe. He gave her a little hope, like a thin candlelight. He probably won't come, they probably don't kiss next time. But I don't think this is the vain of love.