Séquence du film de Chan wook park:
http://218.38.19.146/mailling/monster_0 ... onster.wmv
Three Extreme
Modérateurs : Karen, savoy1, DeVilDead Team
-
Homme du nord
- Messages : 249
- Enregistré le : ven. avr. 30, 2004 10:06 am
WildSide aurait déjà les droits apparemment :
http://www.wildsideproject.com/films/fiche.php?id=115
Et on en apprend pas mal :
THREE EXTREMES (ex Freaks)
Au cinéma en avril 2005. Durée : 2h00
DUMPLINGS (Fruit Chan) : le film réconte jusqu'où les femmes sont capables d'aller pour préserver leur jeunesse...et se penche précisement sur le cas de l'une d'entre elles. Il s'agit de Qing, la quarantaine, ex-starlette reconvertie en riche épouse, femme au foyer, obsédée par son apparance et sa ligne, qui découvre une crême anti -vieillissement dont les ingrédients... ne sont pas tous avouables....
CUT (Park Chan-Wook) : Ruy Ji-Ho est un réalisateur à qui tout sourit : Sa vie professionnelle est une succes-story, ses films marchent tous mieux les uns que les autres, le public l'adore, la critique l'encense, il gagne beaucoup d'argent. Côté coeur, il est heureux en ménage, il est un papa comblé et pour couronner le tout, il est en pleine forme et très beau garçon ! Un soir, après une journée de travail bien remplie, il rentre chez lui et se retrouve nez à nez avec un inconnu qui l'attend chez lui. Le conte de fée se brise brutalement, le cauchemar commence....
BOX (Takashi Miike) : Kyoko est une romancière à succès et une femme très belle. Son éditeur est fou d'elle, mais sa vie sentimentale est un désert car Kyoko vit dans une étrange solitude qu'elle s'impose, comme enfermée dans un lourd secret traumatisant. A l'âge de 10 ans, Kyoko a en effet provoqué accidentellement la mort de Shoko, sa soeur jumelle... Depuis ce drame, elle n'a jamais revu son père.
http://www.wildsideproject.com/films/fiche.php?id=115
Et on en apprend pas mal :
THREE EXTREMES (ex Freaks)
Au cinéma en avril 2005. Durée : 2h00
DUMPLINGS (Fruit Chan) : le film réconte jusqu'où les femmes sont capables d'aller pour préserver leur jeunesse...et se penche précisement sur le cas de l'une d'entre elles. Il s'agit de Qing, la quarantaine, ex-starlette reconvertie en riche épouse, femme au foyer, obsédée par son apparance et sa ligne, qui découvre une crême anti -vieillissement dont les ingrédients... ne sont pas tous avouables....
CUT (Park Chan-Wook) : Ruy Ji-Ho est un réalisateur à qui tout sourit : Sa vie professionnelle est une succes-story, ses films marchent tous mieux les uns que les autres, le public l'adore, la critique l'encense, il gagne beaucoup d'argent. Côté coeur, il est heureux en ménage, il est un papa comblé et pour couronner le tout, il est en pleine forme et très beau garçon ! Un soir, après une journée de travail bien remplie, il rentre chez lui et se retrouve nez à nez avec un inconnu qui l'attend chez lui. Le conte de fée se brise brutalement, le cauchemar commence....
BOX (Takashi Miike) : Kyoko est une romancière à succès et une femme très belle. Son éditeur est fou d'elle, mais sa vie sentimentale est un désert car Kyoko vit dans une étrange solitude qu'elle s'impose, comme enfermée dans un lourd secret traumatisant. A l'âge de 10 ans, Kyoko a en effet provoqué accidentellement la mort de Shoko, sa soeur jumelle... Depuis ce drame, elle n'a jamais revu son père.
-
Allan Theo
- Messages : 4703
- Enregistré le : ven. avr. 30, 2004 9:57 am
- Localisation : Paris
Des photos de DUMPLINGS (Fruit Chan)
<pi>
<pi>
<pi>
+
Premiere review trouvée sur le forum d'asiandvdguide.
Three...Extremes HK Preview
------------------------------------------------------------------------
A continuation of the previous success, Three ... Extremes is a very entertaining movie ensemble blending psychohorror, critical social commentary, and extreme graphic violence. I came out from the preview feeling with immense satisfaction over the ceative team of Miike Takashi, Fruit Chan, and Park Chan Wook.
IMHO, Miike Takashi's piece is the most entertaining one, followed by Park's social-commentary-cum-sadistic-violence piece, with Fruit Chan's residing to the backseat. However, controversies as to which one is the best piece would be fiercer this time as all 3 directors have each offered very personal taints to deliver to the audiences.
The three pieces last 118 min. with Miike Takashi's "Box" leads, to be followed by Fruit Chan's "Dumpling" & Park Chan Wook's "Cut". Personally, I would suggest anyone interested in the movie to refrain from watching the trailer of Park's piece as there is too much info leaked out. The best way to enjoy the movie in full would be to watch the three pieces without prior knowledge of their separate story plots.
Miike Takashi's Box is a first-rate piece of psycho horror and in my view his best to come out after Audition. The surrealistic shooting and the dreamlike staging by the characters makes it personally my best choice. It is also beautifully photographed with characters developed resonating those found in the works of Shinya Tsukamoto & Kim Ji-woon. Fruit Chan's piece contains some of the most unprecedentedly repulsive and disgusting scenes that tend to pale his previous works. His razor-sharp sense of social criticism (I just wonder how this part is going to be shown in mainland China) permeates all through the screen. Christopher Doyle is to be credited in his mostly restrained yet frankly outlandish style of cinematography. The one actress to steal the show is Bai Ling with Miriam Yeung striving to deliver a performative role that is as disturbing as ever. Park Chan Wook's final piece is also very innovatively scripted and directed with his now very distinguished trademark (developed after Sympathy for Mr. Vengeance & Oldboy) permeating the screen. Lee Byung-hyun's performance is outstanding but so does the directing of Park. The final twisted ending is so repulsively horrible and shockingly unimagined that a complete enjoyment would only be attained by refraining to watch its online trailer.
Three... Extremes adds to the already existing list of distinguished Asian horror movies coming out since the late 1990s and I'll bet salient controversies should prevail once the movie is shown as to which one bests the other. But anyone expecting a near equivalence of the one like Peter Chan's horror-cum-romance piece in the first Three would be disappointed by the near unanimous sense of relentlessness found now in Three... Extremes.
Plus qu'alléchant.
<pi><pi><pi>+
Premiere review trouvée sur le forum d'asiandvdguide.
Three...Extremes HK Preview
------------------------------------------------------------------------
A continuation of the previous success, Three ... Extremes is a very entertaining movie ensemble blending psychohorror, critical social commentary, and extreme graphic violence. I came out from the preview feeling with immense satisfaction over the ceative team of Miike Takashi, Fruit Chan, and Park Chan Wook.
IMHO, Miike Takashi's piece is the most entertaining one, followed by Park's social-commentary-cum-sadistic-violence piece, with Fruit Chan's residing to the backseat. However, controversies as to which one is the best piece would be fiercer this time as all 3 directors have each offered very personal taints to deliver to the audiences.
The three pieces last 118 min. with Miike Takashi's "Box" leads, to be followed by Fruit Chan's "Dumpling" & Park Chan Wook's "Cut". Personally, I would suggest anyone interested in the movie to refrain from watching the trailer of Park's piece as there is too much info leaked out. The best way to enjoy the movie in full would be to watch the three pieces without prior knowledge of their separate story plots.
Miike Takashi's Box is a first-rate piece of psycho horror and in my view his best to come out after Audition. The surrealistic shooting and the dreamlike staging by the characters makes it personally my best choice. It is also beautifully photographed with characters developed resonating those found in the works of Shinya Tsukamoto & Kim Ji-woon. Fruit Chan's piece contains some of the most unprecedentedly repulsive and disgusting scenes that tend to pale his previous works. His razor-sharp sense of social criticism (I just wonder how this part is going to be shown in mainland China) permeates all through the screen. Christopher Doyle is to be credited in his mostly restrained yet frankly outlandish style of cinematography. The one actress to steal the show is Bai Ling with Miriam Yeung striving to deliver a performative role that is as disturbing as ever. Park Chan Wook's final piece is also very innovatively scripted and directed with his now very distinguished trademark (developed after Sympathy for Mr. Vengeance & Oldboy) permeating the screen. Lee Byung-hyun's performance is outstanding but so does the directing of Park. The final twisted ending is so repulsively horrible and shockingly unimagined that a complete enjoyment would only be attained by refraining to watch its online trailer.
Three... Extremes adds to the already existing list of distinguished Asian horror movies coming out since the late 1990s and I'll bet salient controversies should prevail once the movie is shown as to which one bests the other. But anyone expecting a near equivalence of the one like Peter Chan's horror-cum-romance piece in the first Three would be disappointed by the near unanimous sense of relentlessness found now in Three... Extremes.
Plus qu'alléchant.
<pi>
<pi>
<pi>-
Allan Theo
- Messages : 4703
- Enregistré le : ven. avr. 30, 2004 9:57 am
- Localisation : Paris
Une autre review du forum de KFCcinema.com
``Three, Monster,’’ a compilation of short films by East Asian directors, is probably the most aesthetic of horror films to open in theaters this year. The three directors who participated in this project _ Park Chan-wook of South Korea, Takashi Miike of Japan and Fruit Chan of Hong Kong - figure out ways to not as much terrify the audience as attempt to disturb them on a psychological level.
The films of ``Three, Monster’’ all work from the same premise _ that the source for the horrific lies not outside but within the individual. The results have somewhat of a biblical feel, with the directors casting their interpretations on greed, envy, desire and other deadly sins that can transform people into monsters.
The most original and polished of the three is the first. ``Cut,’’ directed by Park, is a continuation of the revenge theme that the filmmaker has been exploring in his recent films ``Chiltunun Naui Him (Sympathy for Mr. Vengeance)’’ and ``Old Boy.’’ The short film, however, takes a slyer approach than his features, and gives center stage to the black humor Park only hinted at previously.
``Cut’’ is a literal theater of cruelty, in which a failed actor credited only as the Terrorist (Yim Won-hee) holds a director (Lee Byung-hun) captive at a film set, a recreation of the Director’s own home. There, the Terrorist has elaborately tied up the Director’s wife, the Pianist (Kang Hye-jung), in front of a piano, and a random child on a sofa. He then gives the Director a choice - either strangle the innocent child or watch as he chops off one of the Pianist’s fingers every five minutes.
It may seem odd that Park would find humor in such a situation, but the director does so with gleeful abandon. The situation is taken into absurd territory, revolving mostly around the game between the Terrorist and the Director, and aside from the unnecessary twist at the end, the film succeeds in keeping the audience in uncomfortable laughter throughout.
Less elaborate but perhaps more frightening than ``Cut’’ is Fruit Chan’s ``Dumplings.’’ The story, about a woman (Yeung Chin Wah) who tries to recover her youth by eating dumplings made of aborted fetuses, seems like something that could unfortunately occur in our youth-obsessed society. The short film, which includes excellent performances by Ling Bai, as the ruthless dumpling vendor, and Leung Ka Fai as the husband who chases after young women, falls short of meaningful social criticism, but its close resemblance to our world makes it more disturbing than any ghost story.
Miike’s ``Box,’’ unfortunately, gets lost between the two superior shorts. The director fills his surreal narrative about a young woman writer with such evocative images as a circus act starring twin teenage dancers, bleak walks through the snow and repeated dreams of being buried alive. It’s certainly beautiful to look at in a melancholy sort of way, but the film’s simplistic story of jealousy lacks the psychological dimension that makes ``Three’s’’ other two films so engaging.
``Three, Monster,’’ a compilation of short films by East Asian directors, is probably the most aesthetic of horror films to open in theaters this year. The three directors who participated in this project _ Park Chan-wook of South Korea, Takashi Miike of Japan and Fruit Chan of Hong Kong - figure out ways to not as much terrify the audience as attempt to disturb them on a psychological level.
The films of ``Three, Monster’’ all work from the same premise _ that the source for the horrific lies not outside but within the individual. The results have somewhat of a biblical feel, with the directors casting their interpretations on greed, envy, desire and other deadly sins that can transform people into monsters.
The most original and polished of the three is the first. ``Cut,’’ directed by Park, is a continuation of the revenge theme that the filmmaker has been exploring in his recent films ``Chiltunun Naui Him (Sympathy for Mr. Vengeance)’’ and ``Old Boy.’’ The short film, however, takes a slyer approach than his features, and gives center stage to the black humor Park only hinted at previously.
``Cut’’ is a literal theater of cruelty, in which a failed actor credited only as the Terrorist (Yim Won-hee) holds a director (Lee Byung-hun) captive at a film set, a recreation of the Director’s own home. There, the Terrorist has elaborately tied up the Director’s wife, the Pianist (Kang Hye-jung), in front of a piano, and a random child on a sofa. He then gives the Director a choice - either strangle the innocent child or watch as he chops off one of the Pianist’s fingers every five minutes.
It may seem odd that Park would find humor in such a situation, but the director does so with gleeful abandon. The situation is taken into absurd territory, revolving mostly around the game between the Terrorist and the Director, and aside from the unnecessary twist at the end, the film succeeds in keeping the audience in uncomfortable laughter throughout.
Less elaborate but perhaps more frightening than ``Cut’’ is Fruit Chan’s ``Dumplings.’’ The story, about a woman (Yeung Chin Wah) who tries to recover her youth by eating dumplings made of aborted fetuses, seems like something that could unfortunately occur in our youth-obsessed society. The short film, which includes excellent performances by Ling Bai, as the ruthless dumpling vendor, and Leung Ka Fai as the husband who chases after young women, falls short of meaningful social criticism, but its close resemblance to our world makes it more disturbing than any ghost story.
Miike’s ``Box,’’ unfortunately, gets lost between the two superior shorts. The director fills his surreal narrative about a young woman writer with such evocative images as a circus act starring twin teenage dancers, bleak walks through the snow and repeated dreams of being buried alive. It’s certainly beautiful to look at in a melancholy sort of way, but the film’s simplistic story of jealousy lacks the psychological dimension that makes ``Three’s’’ other two films so engaging.
Encore des news.
Trailer du Fruit Chanhttp://mysite.wanadoo-members.co.uk/kfilm/hongkong.wmv‹
Clip video regroupant les 3 segmentshttp://mysite.wanadoo-members.co.uk/kfi ... cvideo.wmv‹
+
Dvd HK annoncé pour le 31 Decembre.
Trailer du Fruit Chanhttp://mysite.wanadoo-members.co.uk/kfilm/hongkong.wmv‹
Clip video regroupant les 3 segmentshttp://mysite.wanadoo-members.co.uk/kfi ... cvideo.wmv‹
+
Dvd HK annoncé pour le 31 Decembre.
<pi>
91 mn