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Some may say one should not see 301-302 on an empty stomach. Sure, with Park Chul-soo's luscious displays of Korean and non-Korean dishes served up by Song-hee (played by Pang Eun-jin), one will find oneself hankering for a heaping serving of chigae or fried chicken. However, later on, after the third or fourth retch by Yoon-hee (played by Hwang Shin-hye), seeing the film on a full stomach may result in a need to rush to the bathroom as Yoon-hee does so many times in the film. Actually, I would recommend seeing this film a little hungry. This way, one is forced to hold the ebb and flow of delicious and disgusting the film serves up.
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% Q0 S2 R! T c& N9 @. V One of the first Korean films to receive a theatre release in the United States, 301, 302 tells the story of two apartment neighbors who represent opposite approaches to their struggles as modern Korean woman. Song-hee gluttons on food, sex, and consumer goods, whereas Yoon-hee refuses all the world has to offer. Park portrays these characters with touches of the surreal. Yoon-hee could not survive as long as she does in the film taking in nothing but water, nor could she have the healthy body exposed to us with such an eating disorder. The surreal in Song-hee appears in the steps she will take in her consumption. Still, contained within this surreal, dark tale is a meditation on the plight of Korean women in modern Korean society. Song-hee starts off as the dutiful wife who soon finds that her duties leave her self-fulfillment wanting. Yoon-hee is denied her authentic voice through denial letters from publishers. Instead, she must pimp her words in sex advice columns. % _' { x' ~+ L; A9 ]. A
8 n" @; b& I) b' _& c: \1 p4 z+ pSeeing this film for the first time after a handful of Shiris, JSAs, and Chunhyangs, one might find the production value lacking, but as a predecessor to grosser budgets, Park does a wonderful job adding to the feel of the film with his vibrant blues, yellows, and reds, as well as the sounds of slicing and dicing. Song-hee's apartment would still receive nods of approval from the editors of Wallpaper*. As an art film, the dialogue isn't necessarily meant to be natural at times, however, some may find the film heavy-handed in its feminist criticism. ; K: D* L1 M/ ^7 q U7 C
" Q1 v9 l1 F( G' g- g% k8 m8 c: [Personally, I found it refreshing when I saw it back during its United States release and still find the film valuable. Pang and Hwang are wonderful in their portrayals, each character struggling to escape the standards society imposes upon them through what little control they have. As Yoon-hee and Song-hee both look through the fisheye lens that is the peephole of their respective apartments, each tries to return the male gaze to reflect a more liberating future for themselves. Whether or not that's accomplished I can not state here, since that would involve interpreting, thus ruining, the ending. What I can tell you is that Pang and Hwang return within the next Park vehicle, Push! Push! (1997), where Park continued to provide a voice for the modern Korean woman before Korea's gradual inclusion of women directors, such as Yim Soon-rye and Jeong Jae-eun, permitted an opportunity for women to do it for themselves. (Adam Hartzell) ; F$ s: B9 G0 w& N1 a% O
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301, 302 ("Samgongil, samgongi"). Directed by Park Chul-soo. Screenplay by Lee Suh-goon. Starring Pang Eun-jin, Hwang Shin-hye, Kim Chu-ryun, Park Chul-ho, Choi Jae-young, Jang Young-ju, Park Young-rok. Cinematography by Lee Eun-gil. Produced by Park Chul-soo Films. 101 min, 35mm, color. Rating received on April 14, 1995. Released on April 21, 1995. Total admissions: 30,423. Released in U.S. on March 1, 1996 (total gross: $12,459).
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! j0 }; B) \! a3 e3 ]2 m01 302" is a rather odd little Korean film, though one which has won a great deal of critical praise, including the 1995 Grand Bell award in its native country, as well as being South Korea's entry for the 'Best Foreign Film' Oscar in the same year. It was directed by Cheol-su Park, responsible for the equally strange "Push, Push", a gender comedy which shocked through its inclusion of actual birth and vasectomy operations. Although with "301 302" he takes a less graphic route, Park's approach is no less visceral and the film is one which is quite likely to provoke a feeling of queasiness in viewers.4 Y; O! n2 e9 E2 K3 u# g" a: Y
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' X2 k- f; h* s. \8 A1 M tThe film is decidedly art house, similar in many ways to the early 'body horror' of Cronenberg, and would sit quite comfortably on a double bill with the recent auto-cannibalism shocker "In My Skin". In fact, the two films are alike in many ways, being complex psychological studies of their female characters which clinically tackle potentially gruesome themes, though without slipping into the realm of exploitation. "301 302" in particular, despite its premise, is not a film recommended to casual viewers of extreme cinema, as although it is shocking in its own way, it is so in a quiet, cold manner that seeks to explore and suggest rather than simply revolt. It does succeed in this to some extent, though it is let down by a slow pace and an uncaring eye which seems intent on deflecting viewer involvement.
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The film's title refers to the numbers of two apartments in a modern building in Seoul, which for the purposes of the narrative are assigned to the two young women who live in them (the two are never referred to by name). The plot begins as a detective calls at 302 to investigate the disappearance of 301 (Eun-jin Bang, also in Ki-duk Kim's "Address Unknown"). The rest of the film consists of a series of flashbacks which explore the strange relationship between the two women, framed by the detective's conversation with 302 (Sin-Hye Hwang, also in the comedy "Love Bakery").( q% k) ]$ O2 i# P
4 o+ Q5 m2 G7 ]% C0 Z$ c$ Y5 |% BWe quickly learn that both 301 and 302 suffered from eating disorders, and that both were, in quite different ways, mentally unstable. This instability takes a variety of forms, which are brought out into the open after the two meet, and which seem to accentuate and boil over into mania as they bring out the worst in each other. The film delves into the past of each of the women, attempting to explain their behaviour, and to set the scene for a grotesque climax.! ]. ]+ K, W$ l* i( Y2 x: ?1 @6 N1 H
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Director Park seems to be mainly concerned with exploring the relationship between human beings and food, and the explicit emotional and physical links that people develop with the act of consumption. He does this in great detail, and the film contains a huge number of loving close ups of food, which is either presented as being delicious and almost artful, or as decaying garbage, depending on whether it is being seen from the point of view of 301 or 302. He certainly succeeds in his latter depiction, as some of the scenes of rotten food, and occasionally its consumption, are quite nauseating.
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Park does focus a lot of the film on the very human feeling of disgust, especially in the direct links he draws between food and sex, whether this refers to 301's childhood abuse and subsequent inability to eat, or 302's voracious appetites, and her eventual use of cooking as a sex substitute. Bodily functions play a very important role here, both in terms of showing 302's gluttony, or 301's constant vomiting. Although this does enable the film to provide a fascinating psychological portrayal of two obsessed, damaged women, it fills the narrative to the point where we learn little else about the characters, and as such they are relative blanks, defined only by their neuroses.
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. y# f+ H5 |6 UThe problem with this is that the film ends up spending the vast majority of its running time exploring the lives of two women we are never really invited to care about, and which are treated more like case studies rather than actual people. Whilst this does aid Park's efforts by giving the film the detached air of a clinical study, it also slows down the pace quite seriously, at times to the point of boredom. This is made worse by the fact that the film's climax is not surprising in the least, even if viewers have managed to avoid reading details of the supposed twist (which in itself is quite difficult, given that it is generally used as the film's selling point).
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9 f2 @: I5 V4 }Similarly, the ending itself is a real let down, with no sign of the gruesome catharsis that the film seemed to be building towards. Since we have a very good idea of where the narrative is leading, the relative lack of any other event, save for the cooking of a pet dog and 301's penchant for regurgitation, the overall feeling is that a good thirty minutes could have been trimmed, and that the film may perhaps have worked far better as a short.
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6 D' v1 a m( z( o5 E/ HAs things stand, "301 302" is not without its merits, and makes for a fairly interesting watch. However, the viewer is unlikely to become engrossed in the events or indeed care much for the two central characters, and as such the film comes across more as a rather dry, at times dull and overly earnest study rather than a story or actual film.* q- c: z- U0 N! D: y! Z3 ^
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+ c/ J, G$ m N/ a$ P GA thin but attractive writer has suddenly gone missing and the only suspect appears to be her comely neighbor in Cheol-su Park's "301/302."
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! t9 R; I& S" ]/ M9 _$ [/ L9 w/ K6 LThe central fascination of "301/302" deals with two decidedly different women - one an extrovert, one an introvert - whose lives have been corrupted by food: the chef (Apt. 301) based most of her husband's affections and later her own inadequacies of providing exceptional meals while the anorexic writer (Apt. 302) can't shed the memories of her sexually abusive father - who worked as a butcher - and refuses to eat as a consequence. Now divorced, 301 meets 302 and transfers her love to her new neighbor, trying against all odds to get the thin, pale woman to eat her meals.
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9 N6 R- T/ x( t# d( \The film has several plot inconsistencies that are never cleared up. 302 appears to have virtually no contact with anyone except for the occasional telephone call from a mysterious editor/writer/friend, but yet the very morning after her disappearance the police have gone looking for her. An unnamed building resident last witnessed 302 going into 301's apartment, but the hallways are always empty and void of other people. Then, in the film's final moments, it becomes clear that 301 has adopted some of 302's physical appearance, cutting her hair to match that of the thin writer; given her desire to eat and eat and eat, why would she suddenly choose to adopt the looks of one who abhorred eating?
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- A8 @" ~9 b0 ZHowever, in the broader recipe, these points aren't significant. What matters most is the relationship these two women have with one another and their past lives. Their respective histories are told in effective if not alarming flashbacks, and, despite their differences, it becomes thematically clear why they would be inevitably drawn to one another in the unique environment created by the filmmaker. The viewer can see the conclusion coming, but, like preparing a good meal, it's really more about eating than it is the cooking.
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9 E- p6 ]2 O* j8 f% F& KIt's an odd relationship, but - if not predictably - these two women are destined to be together. Only 301 can fix 302's problems ... with a solution that isn't exactly a five-star dessert.
0 a& Y) |0 y, T/ j, a/ rhttp://www.amazon.com/gp/product ... ng=UTF8&s=video
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A dark comedy is what initially drew me into watching this film. After I popped the tape into the VCR, I wasn't too interested but half-way in, the scenes between the two women get really interesting. It's funny in a very strange way when the food-obsessed woman forces the other woman to eat her cooking. The second woman is in serious trouble when she is caught trying to dispose of all the food the food-obsessed woman in 301 prepared for her. Another scene not to be missed. The fate of the dog and the woman in 302 is a little predictable. But the events that bring you to that point will compel you to watch. 1 i. M" b' i. p/ s/ Y' j
This is a very unique, often funny, and disturbing look into the lives of these characters. I had to watch it a second time to see what I may have missed. Check this one out. 301/302 is different from most of the films out there.
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Dark matters are treated with a light touch in this food-as-metaphor film by Korean director Cheol-su Park. The title "301/302" refers to the apartment numbers of two young Korean women who live next door to each other. The 1995 film stars Eun-jin Bang as a lusty and sensual cook who lives in apartment 301, and Sin-Hye Hwang as an anorexic and sexually repressed freelance writer who lives in apartment 302.
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: d( f2 C: z. ^, s2 Y HThe story commences with a nosy police detective interrogating 301 in her sparkling, state-of-the-art kitchen, on the disappearance of her anorexic neighbor in 302. As the details of the mystery unfold, the setting moves back and forth in time between the lives of the two women, and the series of events that led them to the same apartment building. 4 V7 D4 e5 {" y5 J1 B: L3 A; Q" v
M3 m0 a% j3 CIn a sequence of flashbacks, we learn that 301 started her adult life as the newlywed bride of a workaholic businessman. With nothing to do all day except to attend to her domestic duties, she devotes all her energy and passion to the preparation of elaborate meals for her husband, while indulging in erotic fantasies. Alas, her husband is less than appreciative of her culinary efforts and sexual advances, and soon comes to resent her obsession with both. But it's only a matter of time before he gets his just desserts.* g8 M% N$ M5 u. p. r7 M
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Meanwhile, in the household where 302 grew up, her avaricious mother spends all day counting money and making trips to the bank, looking the other way while her good-for-nothing husband, the owner of a neighborhood butcher shop, sexually molests her teenaged daughter. And to make matters worse, 302 is later implicated by her step-father in the lurid cover-up of a butcher shop mishap that leaves her psychologically scarred for life.
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When the two women finally cross paths, they have both started life anew in an upscale high-rise apartment building. As a neighborly gesture, 301 prepares a gourmet meal, which she delivers on a serving tray to the writer in 302, with the declaration that she hopes they can become friends. Before long, 301 is back to her old habit of throwing herself into her cooking, this time on a mission to fatten up her emaciated neighbor. Over time, however, much to her horror, she discovers that all the delicious food she prepared has been tossed untouched into the garbage. 6 J V- r5 `$ n) e9 Q B& D; I5 C
9 H0 s" T, f* Z( `3 q# tWith an air of curiosity, as well as one of genuine concern, she confronts 302 on her eating disorder, in hopes of helping her overcome it. And in the tell-all confessional that follows, we finally learn the truth about both women, and witness their unique solution to the problem.
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301/302 is not only a deliciously compelling mystery, in the process of telling a story, it also obliquely examines the elemental nature of food, its symbolism, and the profound effect it has upon the female psyche. Without a hint of self-indulgence or contrivance, the film raises and answers the hard questions about the complex issue of woman vs. food in the personification of these two strange yet believable female characters. 301/302 may delight, and it may horrify, but the film is most assuredly... food for thought.0 J; v% R9 F2 q( ]# z
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6 R; d. I7 J4 P2 cStory: In a lonely sky rise apartment building two women live as neighbors; one, a compulsive cook, the other an introverted writer. The story opens with the arrival of a plain clothes police officer. A conversation segues into a full blown interrogation as we find out that the writer neighbor is missing without a trace. As the story progresses, we learn the details that lead up to the disappearance of the writer, as well as the true nature of the two women’s relationship. - V) c$ N& c9 X7 V7 z/ V. e
Review: “Lifetime” is an American cable broadcasting station that specializes in made for TV dramas and reruns of female oriented sitcoms. In fact, Lifetime’s major demographic would appear to be limited almost solely to that of bored house wives whose repetitive, lack-luster existences have left them longing for a temporary escape from the mundane trappings of domesticated life. ) e# V) l4 [0 `1 |- n- I4 C
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Over time, I have done my best to avoid this so called “entertainment for women” when at all possible, but coming from a family where the women often out number the men, I have unfortunately seen more than my fair share of “Golden Girls” reruns and “Designing Women” holiday specials. I had assumed that our neighbors to the East had not been plagued with such a nauseating waste of cable, but after seeing “301, 302” I cannot help but believe that South Korea has sprouted its own alternative to this western tinged, estrogen soaked fiasco. 9 i" }5 }+ L2 q1 S- O& k
6 w9 A% a! r9 ?# }4 P0 h( m“301, 302” must have been one of those made for TV movie scripts that was a bit to risqué for the audiences of the west. It has all of the elements that typically make those Lifetime movies what they are. You’ve got two, bitter, single women, each with a troubled past, who eventually form a bond, despite their differences. There is also flashbacks aplenty, showing us just where their emotional baggage derives. This one, though, packs something a little different with the additional angle of the mysterious disappearance of one of the women. While I can really only assume this, I would be willing to wager that in the history of Lifetime Originals, one never had a plot that dealt with habitual vomiting, frozen children, and doggie soufflé. Well, at least not all at once.
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Plot points aside, this film has more condemning it than just the fact that members of the masculine persuasion most likely wont relate. There is also the incredibly poor pacing of the film. After the opening establishes our main heroines, we spend an unnecessarily long amount of time dealing with each character’s past. Something that would usually be totally acceptable, if not expected in this type of film, but this time around, the sequences tend to maintain an out of place, dreamy, flashback-like atmosphere, which borders on becoming disorienting more than once through the course of the film. / \- \# H* b% W: T# p: W
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Through my experiences with Korean cinema, I have found that even if a film is bad in terms of plot, it at least tends to have an aesthetically appealing look. Unfortunately, “301, 302” was made in 1995, a time before the wonderful era that we have all come to associate with when thinking of the Korean cinema boom. Shot in full screen (or perhaps only converted to such for the release of the DVD), the visual appearance of this film only adds to the cheap, made for TV look of the production. Don’t even get me started on the fact that the DVD’s transfer is unmistakably an unaltered VHS copy.
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0 I) W0 N* B# C: T1 u" I# }9 vAll in all, “301, 302” doesn’t come across as being much better than a cheap, disposable, Hong Kong drama. Granted, there is a little more thought put into it, and it does possess a certain something that makes it undeniably Korean, but ultimately, it’s just as forgettable as the countless other DVDs you might have blindly bought that are now sitting in that graveyard you call a shelf. Please, for the love of space, don’t add this title to their ranks.
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( ?& E$ i8 Q" D1 G+ G: z3 X; uUgh! This is a case of a poor film getting an even poorer DVD. Presented in 4:3 full screen, the image looks more like a third generation video tape than that of a DVD. The sound even has that annoying hum that one so often associates with VHS. At least you get the option of listening to that hum in either Dolby Digital 5.1 or 2 channel stereo. As for special features, you get none. That is unless you can call a text section describing the cast, crew, and synopsis a special feature.
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Reviewed by Brandon Fincher
* \: H& A3 b; Q3 j1 Whttp://www.kfccinema.com/reviews/drama/301302/301302.html5 ]7 c1 J( H2 l. W6 u/ p% m/ Q
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" p0 t, D) T' X; V5 l$ `6 ~The Charge- V" |& a+ [0 T+ w1 n2 v" K' E/ W
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Two apartments. Two women. One shocking mystery.
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+ e0 r: q3 J! r6 o% YOpening Statement
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A fascinating study of neurotic behavior, 301, 302 is a disturbing film that will appeal more to feminist scholars than anyone else. That said, adventurous moviegoers may find a lot to like in this exploration of food, sex, and obsession.0 N1 M" A6 N* l# K
& Z: }0 P4 V7 I" X. ?8 OFacts of the Case
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+ l9 F+ }* F* C4 DThe woman living in apartment 302 of a complex in Korea disappears, and police come to question her neighbor from across the hall. It turns out that the two women were closely connected. 301 (Eun-jin Bang) is a chef, obsessed with food and cooking. 302 (Sin-Hye Hwang) is anorexic, unable to eat any food at all. Their histories are uncovered through a series of flashbacks, which reveal the fate of the woman in 302.2 \$ m2 P) s+ w: _* d
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The Evidence5 }' R8 i' r0 k0 ]# I
( v0 n/ h& n0 m) V5 vI suppose creating a connection between food and sex makes quite a bit of sense. Both are, at their core, necessary for human survival. However, both have become a source of industry, pleasure and obsession for people, so much so that we often don't even associate these activities with our survival. 301, 302 blurs the lines between the appetite and sexuality, which pushes this metaphor to uncomfortable extremes.5 Q! u+ j8 H" p+ ]' S7 V& |
. S- J! k8 J% D8 a, a7 A4 V$ f- OBoth characters are fascinating. 301 has become obsessed with cooking, using it as a way to gain constant approval from her husband. At some point, this led to a divorce, as well as some lifestyle changes and the loss of a lot of weight. For her, cooking is an almost sensual experience, and to have her food rejected is just as bad as having her body and sexuality rejected. Now that she is across the hall from 302, she has a new project: to force the anorexic woman to eat her food and put on a few pounds. The food she makes is varied and delicious looking, and anyone who has a love of cooking will at least appreciate her continued quest for new ingredients and flavors.
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: c, o" X! S+ }1 H# v+ SI don't want to reveal too much here about 302's past. There is abuse, both physical and sexual, to the point where her body will no longer accept intrusions of any kind. The insertion of food is as unappealing as sexual penetration, and no amount of sensitivity (or violence) on the part of 301 is likely to change that. Although we never get to learn as much about 302, her story is more powerful and disturbing.
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$ p. s6 n8 U7 o$ t) S* a Y. oEven from what I've already said, I'm sure that the result of the mystery won't be too much a surprise. The real mystery in this case isn't so much what happened, as exploring what could have possibly caused these women to make the choices that they have made. We watch as they hurtle towards this end, and the pieces of the puzzle all fall into place.' O0 V% l0 n M2 f
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0 G/ O N. y1 |: w# HIt is almost impossible to take the central mystery at face value. While the events leading up to each woman's current situation make sense, the results beg to be taken symbolically, not literally. I think this blatant abstraction is the weakest part of the film, and is so extreme that it weakens the power of the earlier scenes. As I said at the beginning of the review, this may not be a problem for people who are willing to watch the film as an exploration of feminist theory, but when the first half of a film is so realistic and believable, it makes that kind of twist difficult to swallow (no pun intended).
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The DVD is quite unimpressive. It is presented in full screen. I was not able to find out whether this is the original aspect ratio, but there are no widescreen releases (that I could find) anywhere in the world, and I don't see any evidence of panning or extra information on the top and bottom of the frame. The colors seem accurate, and at times you can almost smell and taste the food that 301 makes. There is also quite a bit of grain and a few print flaws, but nothing beyond what can be expected for such a small budget film from a decade ago. The sound is more problematic. Although the voices are generally clear, there are some odd shifts in sound sometimes, as thought there were problems with the source. The stereo track is actually the preferred choice in this case. The surround track simply echoes the front sound stage in the rear, which makes everything sound artificial and boomy. There are no extras on the disc, which would have been a great idea on such a personal and theoretical film.
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, ]! ]: U! y( \" C ^0 ]Closing Statement
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301, 302 isn't likely to find favor in very many circles, but it does deserve some respect for its unflinching look at the difficult lives of two women trapped by issues of food and sex. It's a highly personal, unpleasant film to watch, but it has important things to say about relationships and loneliness. I have read reviews that have said to watch 301, 302 on a full stomach, and others that say to watch it hungry. I think the answer to this question depends on who you are, and whether you would rather feel uncomfortably hungry during the first half of the film, or unpleasantly full during the second half. Just as in the lives of these two women, there isn't a perfect choice to be made; just one that will cause you as little pain and suffering as possible.5 `3 \: K- D: I7 V
: k# H5 S9 ?) {0 A1 a# nThe Verdict
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+ F- f0 i$ {5 _9 q3 d2 kAlthough I need to hold the film and DVD for further questioning, the two women are free to go.
7 ?/ X8 l- i2 o0 y- g: Uhttp://www.dvdverdict.com/reviews/301302.php
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Women's relationships with food has always been a dicey subject and has long been fodder for the movies. Hell, Calista Flockhart got her start playin a girl with an eating disorder in one of those after school specials.
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Here, bulimia again takes center stage in this utterly bizarre (yet logical) movie about two neighbors, known only by their apartment numbers: 301 (Eun-jin Bang) and 302 (Sin-Hye Hwang). At the start, 302, a writer, has gone missing, and a detective wanders buy to ask 301, a chef, some questions. What is revealed is that 302 is bulimic due to some trauma in her past and 301 has been cooking for her to attempt to shake her out of it. Unfortunately, it doesn't take: Gourmet meal after gourmet meal goes in the trash and down the toilet, and the relationship between the secretive and progressively more unhinged 301 and the demure 302 gets tenser and tenser.' j3 [3 ^& f, d
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The film progresses almost lazily: 301 cooks in extended scenes of shopping at the market and preparing the meals, then 302 can't eat them and violently erupts. Interspersed among the narrative are flashbacks and asides: 301 is revealed to be far more compulsive about sex than she is about food, and 302, revealed to be the daughter of a butcher, has some nasty skeletons in her closet.
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The acting is solid and the direction is spot on for the material. Cheol-su Park has been directing films for decades now, but 301/302 is probably his best known outside of Korea. Altogether, it's a twisted little thriller, the kind that's become all the rage in Korean cinema, and one which thrill-seekers will definitely want to hunt down.9 ]) a& U7 S9 Y+ g' _+ N
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Aka 301, 302.
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Most of the movies coming out of Hollywood nowadays are either screwball comedies or big, violent action flicks. Same old, same old. To get something truly different, you have to either keep an eye on the independents, or look at some of the avant-garde foreign films.+ ]% \6 T6 |( P0 A
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A Korean movie, though, is not what you would usually call avant-garde. Most of them are, well, screwball comedies or action flicks, and very few make it across the Pacific to American movie screens. Director Chul-Soo Park's "301, 302," on the other hand, is a dark, moody, and tense character study that takes a look at two women who live next door to each other; the title comes from their apartment numbers, 301 and 302.# C- l! }( w/ y# L% Y: }4 ^
7 v; m N) e9 @1 N3 L1 UWe meet 301 as a police inspector comes calling. Apparently 302 has gone missing, and 301 may have been the last one to see her. As we learn more and more about 302's strange habits, including the inability to eat or even smell good food, we also learn about 301's quirks, including her fascination with cooking and eating.
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The two women are as alike as they are different, though, and their uneasy friendship leads to some traumatic revelations.# Y1 s9 X; p2 W1 Q& O1 X
6 K, Z# _% t& [! ~7 W8 XDirector Park tells the story in flashbacks and voiceovers, and it blurs the line between dream and reality. When the truth is revealed about 302's disappearance, it really hits home. The scenes of the wonderful Korean cooking are reminiscent of "Eat, Drink, Man, Woman," but "301, 302" is disturbing enough that I almost didn't feel like eating dinner afterwards.8 y% ~ z0 X& n ~+ w
, I8 _# _7 @9 i$ e1 n4 ^! v/ ` W"301, 302" is Korea's entry for the 1996 Oscar for Best Foreign Language Film, and it deserves a look. Just don't go on an empty stomach.; ~9 l% c- V* n7 r/ ]. W2 d" ?+ j
' Z: ?/ e1 d$ p0 BCopyright 1996 Alex Lau
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发表于 2005-4-5 21:55