Decisão de Partir

This is romantic movie about impossible love.

Apart from Park Chan-wook's trademark attention to detail in cinematography, blocking and production design, there really isn't much to be interested at. This movie tries to blend some comedy to tragic crimes and wrap it in this bizarre romance. However for romance to work, it must show somehow. These characters are so cold and distant, you can't believe that either of them love anybody at anytime. The overall theme is this theory of two personal trait groups, where two different persons just can't work out. This is true and sad thing in real life as you start to figure out relationships.

Even though the "theme's" idea is important for people to recognize to navigate in life, it hardly is new idea in movies. It isn't big enough revelation to hang in this movie for it's lengthy run time.

It seems the script was "boring", because many scenes experiment with distortion in perspective in cinematography and somehow for me they seem afterthought and not something that was planned in the script writing process. I could be wrong, but for me instead being new interesting way to visualize, they seemed gimmicky way to keep viewers interest.

There are a lot of language stuff here, even more so with two asian languages for us western folk, so I can't really say if I missed something very important ( I read afterwards and I don't think what I missed really made a difference in the way I see the characters). No matter the language love and passion should be seen without any words and the point of the film anyways (said by the director) was to not use these common words for love.

Slow-burn romantic thriller which Park Chan-wook's audacious directing made up for somewhat more subdued script. The mystery didn't truly take firm hold of me but i enjoyed every bit of Park & Tang's exquisite performances toward its imminent conclusion..

A body has been found beneath a cliff, you are a copper, and you should find what made him stiff, was it suicide or murder, an accident, lets dig down further, speak to his wife, try to discover any rift. It's not too long before you're caught inside a spell, a kind of fog descends that clouds and hangs and dwells, conflicting feelings are consumed, Chinese Whispers are perfumed, exchanges made, that lock you in, a widows cell. Time passes and you take a new commission, until out shopping and you fall into remission, a second bolt gives you a jolt, brings you to another halt, the rising tides, conceal and hide, your indiscretion.

Great performances, especially from Tang Wei, and a story to get you thinking, that is what great directors and great films are supposed to do after all.

As "Decision To Leave" (2022 release from South Korea; 139 min) opens, the body of a mountain climber is found. Was he pushed or did he slip? Detective Hae-Jun leads the investigation of this "unaccountable death without witnesses", and his first target is the surviving wife, Seo-Rae, an emigrant from China without much outward signs of any grief... At this point we are 10 minutes into the movie.

Couple of comments: this is the latest from writer-producer-director. Park Chan-wook, who previously brought us "The Handmaiden" and "Stoker", among others. Here he brings us what at first appears to be a murder mystery, but it isn't long before the movie morphs into something different altogether. The movie is super plot-heavy so the less said about it, the better. Just watch! I will say that the movie's overall tone and atmosphere is transfixing from start to finish. The photography on location in Korea (thankfully staying away from the usual suspect Seoul) is outstanding. But in the end it's all about the movie's powerful storytelling, a trademark of many of Park's previous films.

"Decision To Leave" premiered at this year's Cannes film festival to immediate critical acclaim (and Park winning the festival's "Best Director"). The movie is currently rated 94% Certified Fresh on Rotten Tomatoes, and for good reason, I am already going on record that this film without a doubt will get a "Best Foreign Film" Oscar nomination. The movie opened at my local arthouse theater here in Cincinnati this weekend, and I couldn't wait to see it. The early evening screening where I saw this at on the day after Thanksgiving was attended so-so (I counted 10 people including myself). I can only hope that as word of mouth gets around, along with the expected year-end award nominations coming out, this will garner wider attendance. If you are in the mood for a top-notch foreign film that starts out as a murder mystery but evolves into something else altogether, I'd readily suggest you check this out, and draw your own conclusion.

By the description alone, you may walk into Decision to Leave expecting Park Chan-Wook's Basic Instinct, but what you'll get is Park Chan-Wook's In the Mood for Love, an every-frame-a-painting anti-erotic romance between two lovers held together by a messed up situation, while also being a true-to-form noir film with less setup and payoff but more poetic justice than Chinatown, in Park's least horny film to date. The film centers around an unhappily married police detective put to work on a crime he finds himself not wanting to solve, as he investigates the movie's femme fatale for the murder of her husband, while attempting to work out his uncontrollable attraction to her, forcing both of them to ask themselves how romance can survive when hope for a future together depends upon them leaving the past unresolved. It's a mystery that Park unpacks with uncharacteristic restraint, if only because its ultimate payoff is more of a sinking realization than the kind of sudden bombshell often detonated at the end of his earlier films, requires these characters to remain firmly in the real world, where their adult longings will face adult consequences, though toning down the heightened, wildly over-the-top situations and conclusions from a typical Park fare does not change the fact that the storytelling here, both in its writing and visuals, is done with more precision than anything else he's made so far. Beginning at the sensuous first interrogation scene, which is hardly the first time in a film where an interrogation is framed as an act of seduction, it isn't the potential for sex that gets things moving (like Basic Instinct) as their very obvious affair remains unconsummated, but instead, we're given two unhappy people worming themselves into each other's minds, like faint whispers that may help them finally sleep.