Seeing himself can light up through the eyes of another person, but it can also be drunk – especially when the eyes mentioned belong to an artist who is keen to look at everything around him as feed to make the arts. “Winter in Sokcho” explains to Koya Kamura (adapting to Elisa Shwa Dosapin’s novel with the same name) this tension between a young French woman and the difference between the elderly. The two have formulated a weak strange kinship as much as it is attractive, which, throughout the flammable, flammable image, is difficult to preserve and difficult to understand.
Life Soo-Ha (Bella Kim) finds itself living in the small town of Sokcho hunting through a type of routine. Despite the scientific aspirations that prompted it for the first time to study literature, SOO-Ha is now working in an internal house where you cook and clean for those who visit the coastal city even during the slow winter season. She corresponds to Yan Kirand (Roche Zim), and she is an artist keen to drown in the daily life of Sokcho in the hope that the desired inspiration that he needs for a graphic narration will raise.
From the beginning, these two bright people are drawn to each other. It is useful to be able to speak French fluently, and therefore it can be a useful guide for its dead end. She is still there to stay close to her elderly mother, even when her ambitious boyfriend insists that the two can make life in Seoul.
Soo-Ha Adrift is clear. Behind her round glasses and huge winter clothes, she spends her days, perhaps as a way to avoid looking at her. For this reason Yan arrives until he wins it – or wakes it up, really. She can only see her father’s ghost: a French engineer who left Soku without knowing that he is leaving a pregnant woman. In fact, the more searching for Yan’s work (the amazing that you admit to her love because of the sensitivity of sadness) and plays a local guide (until he leads him to DMZ), the more her number and premature technician. Soon after, she was not only happy to play the translator because he buys technical supplies but saving herself in his daily life, as he spied on him from a neighboring room and paper through his work when he is not present. She is keen to cook for him: a method, perhaps, to show her own talents.
For Yan, SOO-HA proves that it is one of the great origins, even increasingly trying to maintain intimacy. He is there to be taken in the tourist attractions and lost in the landscape, so it is logical that it is unwanted soon and unstable from the coherent bond, this young woman is eager to care. With the increasing winter days, SOO-HA finds that it is more and more than those around it. She is disappointed with her boyfriend and her mother’s irritation. Yan is only who keeps it. But are you looking for an alternative father’s personality or for a different kind of lover? Do the illustrations inspire her artistic art, or does she encourage her to see herself as Moses? Or is this, perhaps, an extractive relationship, was not supposed to go out of control?
“Winter in Sokchu” is not particularly concerned with answering any of these questions. Fascinated by the mysterious thorny ways that we communicate with strangers under unusual circumstances, Camora and co-author Stéphane Ly-Cuong Mine Yan and SOO-Ha twisted everything that deserves. Sometimes, the film plays like silent romance. In other cases, such as local excitement. There is tension tense throughout this risk of bloating outside the scope of control, which can end with the same ease in a saturated relationship with steam or violence.
Here lies what makes this adaptation, which goes with a beautiful pace, like this joy to see it. Kim and Zim only spends a lot of movie to monitor their characters – with curiosity, fear, and sometimes, even with something like a desire. But the scenario and films alike are demanding a distance. In fact, some of the most influential shots depend on this: hands on both sides of the table treat food with eating; A face is reflected in a mirror on the steam. Dark water animation that increases SOO-Ha sensory experience. Kamura has talents for tires that still tells a story like his scattered dialogue. He also knows when to bring the romantic result of two Malosina dolphins to make up for the strange silent stillness that passes through a lot of his movie.
At each turn, Camora’s direction enriches the great story he tells. It constantly rejects the collapse of this story-the artist and Moses, tourism and adulthood, Wayward Explorer and the internal observer-to good degrees or expected results, even while they are turned by them. Just like Yan, who tells SOO-HA that it is attracted to the places where he can behave in people’s solutions, “Winter in Sokcho” paints a world that allows isolation to be the lens through which to understand the intrigues of its characters. Although it ends suddenly (and perhaps very little), this official image of the volatile intimate relationship is very hidden, specifically because it avoids moving their characters in well -known and ready -made molds. Instead, such as YAN’s private graphics and imaginative water dreams, this is a more dark story-even confused-but for this impressive.