‘Decision To Leave’ Director Park Chan-wook Interview — Contenders International – Deadline

Fresh from its success at the Cannes Film Festival, where it won Best Director, decision to leave marks the first time a film by park chan-wook – long considered one of South Korea’s finest contemporary filmmakers – has represented his country at the Oscars. have a friendly rivalry with parasite Director Bong Joon-ho, who won with the first Korean film to be nominated in 2019, only heightens the anticipation of its chances.

starring Park Hae-il as detective Jang Hae-joon and Tang Wei as the mysterious widow Song Seo-rae, decision to leave A slow burn thriller that pays for repeated viewings. Speaking during a panel at Deadline’s Contenders Film: International award-season event, Park laid out the premise of the film.

“It’s a story about a detective,” he said, “and he’s in charge of a case in which a man fell off a mountain and died, and his wife is his primary suspect. The detective meets her, and first So he suspects, but suspicion turns to curiosity, and curiosity turns to affection. He constantly has to ask himself: Could she have committed the crime? And does he love her? That’s how the relationship goes. is—and the relationship meets a gruesome end.

Park cited Scandi-noir as an influence. “its [firmly] In the detective genre,” he added, “there’s a mystery and a character who has the ability to solve that mystery. I believe that our life is also full of mysteries, but in our own lives there is no guarantee that these mysteries will be solved. So seeing a detective with the ability to solve such mysteries gives us hope.”

Adding to the mystery is China’s Tang Wei, who has been a huge Korean star since her debut in the 2010s. late autumn, ,[Her character] Initially appears as a very mysterious person,” Park explained. “She does not reveal her true nature to the audience, and so she comes across as the traditional femme fatale type from other genre films . But as we get to know him better, we realize that he is different. You could say that the first half of the film is told from the male point of view, and the female character is merely an object of his gaze. However, in part two, we are no longer in the special eyes of someone, and the lady is no longer a femme fatale, but the protagonist of her own love story.

Check back Monday for the panel video.