【资料】2010《爱，不爱》（玄彬、林秀晶）中字已出

youngyoung

2011-02-18 08:32:17        来源： 电影网


电影网讯（编译/Ben 图/CFP）韩星玄彬与林秀晶于2月17日下午4时30分亮相德国柏林电影节红毯，在粉丝的欢呼声中携手步入POSTDAM广场的电影放映馆，为两人主演的电影《爱，不爱》站台宣传，该片入围了第61届柏林国际电影节长篇竞赛单元。

玄彬亮相红毯 林秀晶裸背长裙秀性感
    玄彬和林秀晶当天分别身着黑色夜礼服即黑色曳底长裙亮相红毯，引起为观礼而前来现场的亚洲粉丝的阵阵欢呼。在红毯仪式上，两位主角十分配合媒体及粉丝的要求，纷纷摆出不同POSE任其拍照。两人默契十足的情侣装扮引起了媒体的极大兴趣，在红毯上格外亮眼。

    玄彬一丝不苟的经典发型与黑色夜礼服的搭档十分绅士，将玄彬完美的身材比例展露无遗。早早在场边等候的粉丝手持玄彬的照片与欢迎横幅，在看到玄彬入场式爆发出的尖叫声与欢呼令现场气氛十分热闹。

    而当晚的女主角林秀晶简单而黑色及地长裙透露出她知性优雅的气质和性感的女人味儿。虽然胸前风光被长裙独特的设计遮挡住，但是林秀晶的性感美背却谋杀了不少记者的菲林。

     为了配合晚装的风格，林秀晶当晚的发型与妆容也极力腔调简单干净。呈现出与下午亮相记者会时截然不同的成熟韵味。

《爱，不爱》柏林首场展映 入围竞赛单元
    在结束了红毯仪式之后，电影《爱，不爱》便在柏林展开了首场展映活动。该片讲述的是一对结婚5年的夫妻在短短3个小时内的感情变化过程。是第61届柏林国际电影节中唯一一部进入长篇竞赛单元的韩国电影作品。该片导演李润基此前执导过的电影《女人，贞慧》、《非常特别的客人》以及《精彩的一天》等佳作此前也曾入围过柏林电影节，但被提名为竞赛单元展映影片还属首次。

    此外，在2月17日上午11点5分，影片《爱，不爱》还在柏林举行了记者招待会，影片导演李润基、主演玄彬、林秀晶一众均出席了现场活动，并回答了各国记者的提问。

    当有记者问及玄彬出演该片的原因时，玄彬称自己在看剧本时似乎是在阅读某人的日记或随笔的感觉，与其他的电影剧本感觉很不一样。他还透露称近年来的电影和电影剧本出现了节奏偏快，而且刻意追求亮点的趋势，但是却忽略了电影中的感情刻画。因此像《爱，不爱》这样强调感情刻画的电影才会给别人带来享受的感觉。

    玄彬还透露影片中的长镜头运用相当多，因此他对于观众的接受度感到十分紧张，同时玄彬也希望影片能带给观众不一样的感受。

youngyoung

2011-02-18 08:48:50        来源： 电影网

如果无法播放，请点击此处在新窗口打开

日前，由玄彬与林秀晶主演的情感文艺电影《爱，不爱》曝预告片，电影网独家编译中文字幕。该片由李润基导演执导拍摄，是唯一一部入围第61届柏林电影节竞赛单元的亚洲电影。

　　影片描绘了结婚5年有余却面临着分手境地的一对夫妇的心理过程。声称在外面有了男人的妻子与得知消息却不动声色细心照顾妻子，难以揣测其真实想法的丈夫之间的情感过招，将在3小时的影片中得以呈现。

　　片中玄彬褪下了自己在《秘密花园》中展现的阳光帅气形象，转而蓄起了长发和短须，展现了心中有苦难言的都市型男形象。林秀晶扮演玄彬片中妻子。两人最终的关系和结局令人好奇不已。据悉，两位主演都是零片酬出演了该电影，同时都对记者表示希望有机会能与对方再度合作。

　　影片将于2月24日在韩国上映。

jerryhyun

电影的第一个镜头长达十分钟，玄彬与林秀晶饰演一对结婚五年的夫妻，他们在车里有一搭没一搭地说话，突然林秀晶告诉玄彬，她要分手，离开这个家，因为她有了别的男人。

　　故事就这样开始了，由于大雨，林秀晶不得不推迟出走的计划。在一段感情行将结束的当口，两个曾经亲密的人，在一起生活的房子里开始了漫长的告别。

　　导演李润基在电影的开头，采用了大量冗长的段落镜头，随着人物的活动，逐渐带出环境，我们慢慢发现，这栋房子成为了电影的第三个主人公。除了表现空间外，李润基还特别注重描写人物间举手投足所传达出的细微感情，相信东方人更能理解这样的设计。

　　如何在有限的时间和空间里，表现丰富的内容，对于任何导演来说都是不小的挑战。看得出来李润基对此下了很大的功夫，每一个环境都用许多不同角度的镜头来表现，但李润基不如另外一位拍摄类似题材电影的洪尚秀那样执着和自信，电影的风格并不统一，我们看不出导演的美学观点到底是什么，抑或他自己也没想好，这是电影最大的遗憾。

　　电影没有音乐，只在片头的汽车里放了一首歌。但无处不在的雨声无疑成为了电影最大的背景音乐，随着环境的变化，雨声也呈现出不同的音调和节奏，也给电影增添了些许神秘的色彩。

　　故事发展到一半的时候，闯入了一个被淋湿的小猫，小猫抓伤了玄彬之后逃跑了，随后不久寻找丢失猫咪的邻居又不请自来，这一切似乎打破了之前的安静。而林秀晶在此时也接到了新欢的电话，对方询问她为什么还不走，林秀晶显得十分纠结。

　　片尾这对夫妻一起做着最后一顿饭，玄彬在切洋葱的时候留下了眼泪。突然那只众人遍寻不着的小猫又出现了，林秀晶对着它说，一切都会好起来的。

　　新浪娱乐报道组发自柏林 王玉年/文

http://ent.sina.com.cn/r/m/2011-02-17/20003232718.shtml

vvldl

Come Rain, Come Shine
With no emotional outbursts and little provided in the way of back-story, Come Rain, Come Shine (Saranghanda, Saranghaji Anneunda) paints a muted but intriguing portrait of a young couple contemplating the end of a five-year marriage.


Although not without its faults, the elegantly shot work marks another step forward in the career of director Lee Yoon-ki, one of the most significant Korean auteurs to debut in the post-Oldboy era. Three of Lee’s previous films, some superior to this one, screened in Berlinale’s Forum section.

As a slow-paced work with little payoff, Come Rain, Come Shine’s commercial prospects look limited, despite the casting of white-hot film/TV star Hyun Bin as the husband. Nonetheless the film, which was shot in less than three weeks, stands a good chance of earning back its minuscule budget during its Korean release in March.

Based on a short story The Cat That Can Never Come Back by Japanese writer Inoue Areno, the film opens with a long, plainly shot, sequence during which the husband (neither character is referred to by name) is driving the wife to the airport. After several minutes of small talk she announces, barely altering the tone of her voice, that she is leaving him for another man. Surprised and visibly upset, he asks her to reconsider, but then acquiesces to her decision without asking the identity of the man.

The rest of the film takes place at home over several hours of a bleak, rainy day, which is likely to be their last one together. After some half-hearted packing on her part, and a surprising lack of outwardly expressed bitterness on his, the two fall into a weary but intimate conversation. Interrupted by a kitten who wanders into their home, and then by the neighbours who come looking for it, husband and wife struggle to maintain their composure.

The emotional state of the two main characters, and the information we can infer about their relationship, make up more or less the entirety of the film’s focus. In place of the long, awkward silences that most directors use in order to signal failing relationships, Lee has his characters talk in a familiar, resigned tone that
The central setup involving the wife’s infidelity would seem to stack the deck against her in terms of audience sympathies, but Lee is rather even handed in his presentation of both characters. Indeed, the husband’s passive acceptance of her betrayal hints at something in him that may have caused the relationship’s troubles to begin with.

The film’s central narrative arc is presented not so much in the dialogue, but in subtle gradations on the face of its heroine. Is she having second thoughts? Is her hesitation triggered by guilt, or genuine regret? The film never fully answers these questions, but it still relies on the acting skills of Lim Soo-jeong to hint at the conflict-taking place under the surface. In this, Lim is only partially successful, never really achieving consistency in her expression. This is especially noticeable in contrast to Lee’s previous feature My Dear Enemy, which was effectively held together by the performance of top actress Jeon Do-yeon.

Hyun Bin feels more natural as the husband, who is the more interesting character, but also the easier role to act.

Technically, the film betrays few signs of its ultra-low budget, with newcomer Jang Hyeong-wook’s cinematography favouring grey, rainy tones. A couple sudden inserts of a sunny, but empty house make for a memorable effect. Lee also presents the film without any added musical score.

Unfortunately the scenes that draw the film to a close feel somewhat forced, but on the whole, the work strikes a good balance between the said and the unsaid. The original Korean title can be loosely translated as, “I love you, I don’t love you.”


Production companies: bom Film Productions
International sales: Fortissimo Film, fortissimo.nl
Producers: Oh Jungwan
Executive producers: Cho Gyunam, Kim Woo-taek, Romeo Noh, Chu Chen On, Cho Jaehyeon, Daniel Yu, Cho Kwang-hee
Screenplay: Lee Yoon-ki
Cinematography: Jang Hyeong-wook
Production designer: Seo Myeong-hye
Editor: Kim Hyeong-ju
Main cast: Lim Soo-jeong, Hyun Bin, Kim Ji-su, Kim Joong-ki, Kim Hye-ok (voice), Ha Jeong-woo (voice)

昨天的一篇影评，卖座前景实在不用有期望...台词不多，故事的叙事部分主要靠林秀晶的表现，这个记者觉得她没有很好维持感情表现的一致性，认为不及全度妍在李润基的美好一天里表现得出色。玄彬的角色相对比较有趣而且相对容易点表现，他表现得也比较自然。

其实我看了预告也觉得他表现得挺自然的，特别是对应他在电视剧里面需要发光的角色而言，给人很平实的感觉＝ ＝

vvldl

Come Rain, Come Shine (사랑한다, 사랑하지 않는다)
South Korea
Contemporary drama
Directed by Lee Yoon-ki (이윤기)


By Derek Elley

Fri, 18 February 2011, 03:57 AM (HKT)

Vacuous study of a failed marriage doesn't engage on any level. Festivals at best.

Story

Seoul, the present day. Yeong-shin (Im Su-jeong), who works for a publishing company, has been married to architect Hwang Ji-seok (Hyeon Bin) for five years. One Thursday, while he is driving her to the airport for a two-day business trip to Japan, she tells she him she is leaving him for another man. Ji-seok reacts in a muted way, not even asking her who the other man is. Some time later, on the day the other man — photographer Kim Seong-hun (Ha Jung-woo) — is due to pick her up with her things, Yeong-shin and Ji-seok find themselves closeted together in the house as the rain pours down outside from a hurricane that has been causing havoc in the region. And then Ji-seok finds a stray kitten crying on the patio outside.

Review

Starting with a fixed, 10-minute single take of a married couple talking in a car, Come Rain, Come Shine (사랑한다, 사랑하지 않는다) looks for all the world like a continuation of writer-director Lee Yoon-ki's (이윤기) previous movie, My Dear Enemy (멋진 하루), in which two ex-partners got to know each other again while driving round Seoul to raise some money. The dialogue is intriguing, small details and tensions are revealed in passing, and then the woman calmly announces she's leaving the man — to almost no reaction from the latter. The film then cuts to the day of her moving out from their house and, in what seems like 90 minutes of real time, the gap between the two movies starts widening like a chasm.

After a striking start to his career with the highly stylised This Charming Girl (여자, 정혜, 2004), Lee went seriously wobbly with his next two features (Love Talk 러브토크, Ad Lib Night 아주 특별한 손님) before powering back with My Dear Enemy, undoubtedly his career highlight, with terrific leads (Jeon Do-hyeon 전도연, Ha Jeong-woo 하정우) and a tight, elliptical script. Come Rain is practically the flipside: clumps of pedestrian dialogue as the couple moon and wander around their underlit house, weak lead actors whose combined wattage wouldn't light a torch bulb, and zero dramatic tension or psychological insight.

Lee's third film to be based on a Japanese short story (following Ad Lib and Enemy), Come Rain shows his serious limitations as a solo writer, especially when divorced from much plot or action. It seems to be no coincidence that his best film was not only co-written (with Park Eun-yeong 박은영, Maundy Thursday 우리들의 행복한 시간) but also featured strong actors who could invest the dialogue with extra resonance. In Come Rain, actress Im Su-jeong (임수정, A Tale of Two Sisters 장화홍련, Happiness 행복) looks like she is simply following the director's orders through an earpiece, while Hyeon Bin (현빈), in a non-responsive, emotionally subdued role as the husband, lacks even the charisma he displayed in the otherwise seriously shakey Late Autumn (만추). Elucidation of both characters' personalities or feelings is as foggy as the underlit interiors of their shared home — to a point that the viewer almost longs for some of the emotional excesses that power most South Korean movies. But apart from the appearance of a stray kitten and its owners at the hour mark, there's nothing going on here at all.

这位影评人对电影的牢骚更多，10分只给2分的，从导演到演员全部都被批

vvldl

Come Rain, Come Shine
Saranghanda, saranghaji anneunda
(South Korea)
By PETER DEBRUGE



A New release presented with East Gate Partners in association with October Pictures of a Bom Film Prods. production. (International sales; Fortissimo Films, Amsterdam.) Produced by T Oh Jung-wan. Executive producers, Kim Woo-taek, Romeo Noh, Cho Jae-hyun, Choi Gyu-nam. Co-producer, Ellen Kim. Co-executive producers, Chu Chen-on, Daniel Yu, Cho Kwang-hee. Directed, written by Lee Yoon-ki, based on the short story "The Cat That Can Never Come Back" by Areno Inoue.
With: Kim Ji-su, Kim Joong-ki, Kim Hye-ok, Ha Jung-woo, Yu Jinyoung.
If it weren't for the wayward kitten that turns up halfway through "Come Rain, Come Shine," director Lee Yoon-ki's minimalist depiction of the world's most civil breakup would defy interest entirely, so sullen and inscrutable are its human subjects. Although a young Korean couple has decided to end their five-year marriage, neither seems particularly anxious to call it quits, with both parties moping about their apartment on the final, rain-drenched day of their relationship. Enter the kitten, showing more determination and personality than both apathetic leads combined. Still, with fest support, low-key drama could snare modest exposure in select territories.
Using Areno Inoue's Japanese short story "The Cat That Can Never Come Back" as his point of inspiration, Lee probably should have considered adapting the slender idea in short form himself. Feature length is simply too much time to spend watching a pair of inexpressive characters wallow in their melancholy. How many cups of coffee and cigarettes must two non-confrontational people consume onscreen before a poetically inclined helmer feels content that he's sufficiently captured their inner turmoil?

Unfortunately for more economically minded auds, the film has simultaneously stripped away most of the clues we need to properly construct their states of mind -- not just artificial devices like music, but also facial expressions, body language and all but the briefest of dialogue -- until the only thing that remains is a sense of apathy from both parties. In a single-shot opening scene, Hwang Ji-seok (played by TV star Hyun Bin and curiously referred to only as "He" in the press notes) drives wife Young-shin (Lim Soo-jung as "She") to the airport, where the two make small talk for the better part of 10 minutes, until she suddenly breaks the news that she plans to leave him and move in with her lover instead.

Ji-seok receives her decision with minimal impact, asking no questions and making no argument. His disposition is such that you could set him on fire and instead of crying out, he would simply sit down and let the flames consume him. Surely this level of dispassion has something to do with the predicament the couple finds themselves in now.

The following scene finds the couple back at the apartment, smoking and sulking. A heavy rain pours outside, delaying her departure even as it reveals the cracks in the household they've built together. While Ji-seok half-watches a sports game, Young-shin packs her things upstairs (and by packing, that means lifting an object that reminds her in some unspoken way of their relationship, putting it into a box or suitcase, and then picking it back up again to reconsider the item). Clearly, Young-shin is having second thoughts, even if her lack of emotional display masks what exactly she might be feeling.

And then there's the kitten, whose appearance also brings the neighbors, who arrive oblivious to how terribly inconvenient their timing happens to be -- although from the audience's point of view, any fresh injection of energy is more than welcome.

The film is lugubriously slow, hanging on each wan moment as if Lee expects auds to fully understand the character history that makes this separation so difficult. But it's nearly impossible to extrapolate from the scant information provided whether the tragedy is how much they're giving up or how little they have to show for their time together. It's all part of "Come Rain, Come Shine's" general grayness, which extends from the weather-dampened look to the overall ambiguity of emotion; when the film does intercut scenes of Jiseok alone in the sun, they serve merely to confuse rather than enlighten.

Camera (color), Jang Hyeong-wook; editor, Kim Hyeong-ju; production designer, Seo Myeong-hye; costume designer, Lee Jin-sook; sound, Lee Seung-cheol; special effects, Hong Jang-pyo; visual effects, CJ PowerCast. Reviewed at Berlin Film Festival (competing), Feb. 17, 2011. Running time: 105 MIN.
Contact Peter Debruge at peter.debruge@variety.com

Grecy肆

http://yule.sohu.com/20110218/n279399677.shtml搜狐韩娱

      亚洲唯一竞赛片的代表并不给力。昨日，柏林迎来韩国参赛片《爱，不爱》，在电影里玄彬(在线看影视作品)和林秀晶为“爱还是不爱”的问题互相纠结，影院里，一个个躺倒的身影说明了对于他们“爱与不爱”这部电影，已经有了答案。

　　玄彬林秀晶联手催眠

　　亚洲电影来到柏林的不多，本次柏林电影节主竞赛单元唯一的一部亚洲电影，韩国导演李润基带来的新作《爱，不爱》于昨天进行了放映。影片主题是爱情磨灭，爱人分离。导演用一些符号性的家居产品：烟、咖啡、意大利面、门、电话等作为元素，调度玄彬(在线看影视作品)和林秀晶两位演员在一个复式的小楼房中上上下下，冷静又苦闷地反复纠缠，以表现两人分手时平静的痛苦的状态。这部一共只有四个演员的影片，在长达105分钟的时间里，没有音乐，没有大的戏剧冲突或起伏，只有一些极为平淡的琐事和对白。看得观众昏昏欲睡，醒来的则直接离场。

　　玄彬林秀晶为支持艺术片接片

　　新闻发布会上，导演对电影的缓慢节奏和阴沉气氛作了一些解释。电影的名字来自一首歌，灵感也是。生活就是如此，有时欢喜有时忧愁，就像晴雨交替。整部电影没有背景音乐，这是因为，他将雨用作了这部电影的声音。也是角色心灵的声音，不想被音乐破坏了。而且他认为“自己非常重视各种细微的声音，尽管可能不招做声效的人喜欢。”那么多的细节和符号，则是为了间接表达整部电影的情绪。

　　有记者问，这是主竞赛单元第三部女人离开丈夫的电影，不知道韩式分手会有什么不一样。李润基笑到，分手的时候全世界应该是一样的，可能有文化差异，但是在韩国分手应该不会有特别于其他地方。


　也有记者毫不客气地问演员，都是主流明星为什么要接这样的电影，它的市场在哪。玄彬和林秀晶同声通气地表示，剧本打动了自己，做为演员希望能支持韩国的艺术电影。也毫不担心票房，相信艺术电影会有自己的受众。玄彬说，读这个剧本像读一本日记，我们需要慢节奏的电影，能进入到人的内心。


lS那篇影评，是可预而知的声音，但是好奇怪的事，不断强调的黯淡色调又和电影本身的好坏有什么关系呢，自己get不到而已吧。哈哈，不要迷信小情小调和艺术电影，也不要迷信影评人。或许这部片还真不适合展映，比较适合自己一个人在房间看吧。

[ 本帖最后由 Grecy肆 于 2011-2-18 15:04 编辑 ]

我說JA

Saranghanda
Tiefgründig, lähmend, unentschlossen
von Dunja Stamer

Da war sie wieder: die "universelle Verlorenheit!", die Festival-Direktor Dieter Kosslick auf der Berlinale Pressekonferenz schon angekündigt hatte - angedroht, muss man im Rückblick wohl eher sagen. Der koreanische Wettbewerbsbeitrag "Saranghanda/Kommt Regen, kommt Sonnenschein" handelt wie schon der argentinische Beitrag "Un Mundo Misterioso" und auch der Film der Amerikanerin Miranda July "The Future" von einem Paar um die 30 und den meist recht sprachlosen Untiefen ihrer Beziehung.

So wenig Leidenschaft war selten. Der Film beginnt mit der Autofahrt der Eheleute ( Lim Su-jeong, Hyun Bin), deren Namen der Zuschauer nie erfährt. Als er fragt, wann er sie wieder vom Flughafen abholen soll, erwähnt sie beiläufig, dass sie ihn verlassen wird - für einen anderen. Er fragt nochmal kurz nach, ob man da nicht vielleicht nochmal drüber nachdenken wolle, ergibt sich dann aber gleichmütig seinem Schicksal - "Ok, hab ich verstanden."
  Vage, gleichgültig
Der Film beobachtet die beiden in ihrem Haus an ihrem letzten Tag, bevor der neue Mann die Frau abholen wird. Sie soll eigentlich packen, driftet aber immer wieder ab, starrt in den zunehmenden Regen vor dem Fenster. Ihr Ex-Mann in spe packt liebevoll ihre Lieblingstassen ein, kocht ihr Kaffee und bestellt einen Tisch in ihrem Lieblingsrestaurant. Sie scheint nicht wirklich gehen zu wollen, er will nicht wirklich, dass sie geht - und dennoch finden sie keinen Weg zueinander. Die Trennung wird wohl einfach passieren, weil keinem der beiden so recht etwas anderes einfällt. Als plötzlich ein entlaufenes Kätzchen maunzend vor der Tür sitzt, kommt es einem plötzlich so vor, als statte das wahre Leben den beiden einen Besuch ab: sie müssen handeln, das Kätzchen einfangen, es abtrocknen, er wird gekratzt, sie versorgt seine Wunde.
  Der koreanische Regisseur Lee Yoon-ki kritisierte auf der Pressekonferenz der Berlinale, viele Filme aus seinem Heimatland seien schnelllebig, es brauche mehr tiefgründige Beiträge wie seinen, um den koreanischen Film voranzubringen. Doch auch wenn "Kommt Regen, kommt Sonnenschein" - was korrekt übersetzt eigentlich "Ich liebe dich, ich liebe dich nicht" heißt - vielleicht durchaus eine Annäherung an Beziehungen unserer Zeit sein mag, kommen die Charaktere in ihrer vagen Gleichgültigkeit dem Zuschauer nicht wirklich nah.
  Tut was!
Der Versuch des Regisseurs, in ihre unausgesprochene Gefühlswelt vorzudringen, bleibt am Ende selbst doch sehr an der Oberfläche und erschöpft sich in (gespielt) tiefgründigen, unentschlossenen Blicken und zögernden Dialogen. Es mag sein, dass sich Paare derart sprachlos gegenüberstehen - wie es dazu kommen konnte, dazu scheint auch Lee Yoon-ki nichts einzufallen. Bei fast allen dieser Wettbewerbs-Beziehungs-Geschichten bleibt am Ende vor allem eins - man möchte ihnen zurufen: Ja, bitte trennt euch, fangt an zu leben, kauft euch eine Katze, was auch immer - nur: tut irgendwas


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看來，這評論者對這部電影很不耐煩。
只是這是一部腳步慢的電影，誰說分手就一定得想把對方掐死呢？

我說JA

Berlin 2011 Review: Come Rain, Come Shine

Think of modern South Korean cinema and chances are that you’ll start thinking of either Boon Joon-ho (The Host) or Park Chan-wook (Oldboy). Both of those director’s frequently depict the country as corrupt and seedy, making satirical films that are dynamic, visceral and usually pretty exciting – and totally over the top. Very different then was Korea’s competition entry here in Berlin, the Lee Yoon-ki directed Saranghanda, Saranghaji Anneunda (Come Rain, Come Shine), which is much more restrained, delicate and patient. Yoon-ki perhaps has more in common with the formalised beauty of Japanese cinema than with his most internationally famous filmmaking compatriots. Come Rain, Come Shine is slow cinema du jour.

It’s another film of long single takes, characterised by periods of intense and profound silence. Detailed lingering shots of such activities as preparing vegetables for dinner are of paramount importance and afforded ample screen time, whilst “plot” is almost wholly non-existent. It is basically the story of a young, middle class woman played by Lim Su-jeong (previously seen in Chan-wook’s I’m a Cyborg, but that’s OK) who decides to separate from her mild-mannered husband (Hyun Bin) during a drive to the airport on her way to an overseas business trip. This opening scene lasts around fifteen minutes and is characteristically filmed in one long single take, with the camera holding on a two-shot through the windscreen of a moving car.


After this beautifully composed, uniquely dialogue-driven opening – which drives the story forward both literally and figuratively – the film fades to black and we are transported to a point a few days later after “she” (the characters are unnamed) has returned home. The rest of the film takes place in real-time during one incredibly rainy late afternoon as she prepares to move out, with her selfless husband helping to pack her things. A fact which the woman finds irritating, expecting and wanting him to be angrier and describing his kindness as “selfish”. Their trendy modern domicile is clean and tidy to the point of sterility and says more about their relationship then they will say themselves, providing an insight into why the couple are reaching the end.

Not a lot “happens” over the next hour and a half: they drink coffee and carefully place crockery in bubble-wrap. The high point (in terms of action) comes as they find a drenched kitten in their garden and bring it into their home, which is followed by a visit from their pushy neighbours who intrude as they come to reclaim their animal. All the while the rain is lashing down, and they just can’t keep it outside. When they close a stubborn patio door they soon find a leak in the ceiling. It’s this pathetic fallacy that conveys the emotions of understated protagonists determined not to shout or cry. This is set up from the beginning of the very first scene, with a radio weather bulletin warning of a coming storm just prior to the break up.


Come Rain, Come Shine is perhaps a little laboured in its approach and wears its imagery and fondness of metaphor too openly. One brief conversation tells us what we should have been able to discern already for ourselves: the man is sentimental and needs to let go of his baggage – represented literally by the clutter he keeps in his basement. “I should throw things out with no regrets” he says. “Your words are telling.” is the all too apt and knowing reply.

Yet in spite of this there is something poetic and even beautiful about the film, not least its cinematography and the artfully composed nature of Koon-yi’s shot choices. It’s not a classic example of the increasingly tired slow cinema sub-genre, but it’s better than many of the films on show here and it’ll do if, like me, you like that sort of thing. Especially on a rainy, overcast afternoon.


source: http://www.obsessedwithfilm.com/ ... ome-rain-come-shine

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這一篇的評價還不錯！開心。

[ 本帖最后由 我說JA 于 2011-2-18 20:34 编辑 ]

幽幽听雨声

印象中林秀晶还是个孩子呢
呵呵，我对她还是停留在对不起那个阶段
现在已经在演熟女并且身上有了那种女人韵味，真不错
什么时候我娃也能演这种有韵味的深沉角色就好了

Issacness

Movieweek

[사랑한다, 사랑하지 않는다①] 현빈, “나는 ‘그’와 다르다”
原文链接:http://www.movieweek.co.kr/article/article.html?aid=25816&contcode=020401

                               
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[사랑한다, 사랑하지 않는다②] 현빈, “바쁜 지금이 즐겁다”
原文链接:http://www.movieweek.co.kr/article/article.html?aid=25817&contcode=020401

                               
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youngyoung

2011年02月24日14:30  mydaily/文并视频

如果无法播放，请点击此处在新窗口打开

　　新浪娱乐讯 韩星玄彬、林秀晶携手出演的新片《爱，不爱》，近日首次在网上公开了宣传MV。

　　这首MV中使用的歌曲是韩国歌手朴孝信演唱的新歌《眼泪快掉下来》，悲伤的歌词以及旋律很好地衬托了影片中面临分手的玄彬与林秀晶之间淡淡的悲哀。

　　《爱，不爱》讲述了玄彬与林秀晶饰演的一对夫妇面临离婚的心路路程，将从3月3日开始在韩国上映。南安宇/文  版权所有Mydaily禁止转载

[ 本帖最后由 youngyoung 于 2011-3-2 14:46 编辑 ]

youngyoung

体育朝鲜 (2011.03.02 11:39)

                               
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▲玄彬在出席柏林电影节参赛影片《爱，不爱》记者会前。

记录29岁的玄彬入伍前最后一次旅行的画报日前公开。明星时尚杂志《HIGH CUT》在画报《勿忘此刻》（《Never forget now》）中记录了玄彬出席柏林国际电影节的珍贵记忆。从抵达柏林机场的第一天、生平第一次参加国际电影节红地毯活动及试映会、记者会、接受媒体采访、出席闭幕式等正式活动，到在酒店房间内化妆和试穿出席红地毯活动的服装、在柏林郊外的西餐厅享受星期五夜晚的私人时间，全部被纳入30页的画报中。

                               
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▲在红地毯活动和上映会结束后，玄彬出席了电影进口公司和制作公司举办的晚宴。图为，晚宴结束后玄彬在柏林空旷的大街上。


玄彬在出席红地毯活动和闭幕式时穿的乔治-阿玛尼的复古无尾晚礼服、在记者会上穿的帝安佳的礼服、在机场亮相时成为话题的安普里奥-阿玛尼和Dsquared2的休闲装等，完美体现了玄彬时尚潮人的气质。该画报作为玄彬入伍前的最后一次画报，而且以柏林为背景记录了难得一见的个人面貌，显得更具意义。此外，画报中还介绍了玄彬在柏林接受的独家采访。玄彬在采访中讲述了第一次参加国际电影节红地毯活动的感想、在柏林的所见所闻和入伍前的心情等。出席柏林国际电影节是玄彬入伍前的最后一个正式活动，在拍完广告和完成剩下的工作后，玄彬将于3月7日进入海军陆战队服役。

                               
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▲玄彬星期五晚接受媒体采访和与电影节执行委员会主席共进晚餐后回到Michelle berg酒店。在他的背后古色古香的酒店外景和红色照明营造出绝妙的氛围。

                               
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▲柏林天空万里无云，到了返回韩国的时间。玄彬手里拿着一杯咖啡进入Tegel机场。玄彬穿的是安普里奥-阿玛尼夹克、Dsquared2牛仔裤、乔治-阿玛尼皮鞋，戴着帝安佳墨镜。

                               
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▲在下榻的酒店房间里，玄彬用修长的手指弹了弹烟灰。

                               
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朝鲜日报中文网 chn.chosun.com

Issacness

Movieweek 导演李润基

[사랑한다, 사랑하지 않는다①] 이윤기 감독, “난 전형적인 마초남”
原文链接:http://www.movieweek.co.kr/article/article.html?aid=25874&contcode=020401

                               
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某肥

沒想到能在香港國際電影節裡看到這部電影，已經預定了電影票。
好久沒看藝術電影了，還是一早10點半的場子，看來前一天要補補睡眠才行。