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Oh is a theater actor who has appeared in many supporting roles over the years, but his performance in this film has earned him special attention.Despite being the object of ridicule in numerous scenes, his underlying, offbeat charm runs constant throughout the film.
Other upcoming films include The Face Reader by Han Jae-rim who previously directed The Show Must Go On; Hwayi by Save the Green Planet director Jang Jun-hwan; and a big-budget 3-D baseball movie Mr. Although apparently beset by a series of production difficulties, it is an impressively mounted thriller: efficient, dry-eyed and intelligent.Another problem is the strangely unconvincing characterization of Han Suk-kyu's Agent Jeong, compared to his Northern counterparts. DP Choi Young-hwan (The Thieves), reunited with Ryoo after a decade following their collaboration in No Blood No Tears (2002), and Lighting Director Kim Seong-gwan portray Berlin, through impressively extensive location shooting, as a city pregnant with old secrets, bustling with busy population yet pocketed with dark corners and wood-paneled back rooms.The hand-to-hand combat choreography, designed by Ryoo's longtime collaborator Jeong Doo-hong and Seoul Action School, actually works better when it is essentially two people smashing each other with various kitchen implements and office tools in a narrow apartment corridor.Jeon matches him blow by blow as a radiant beauty whose disappointment in her husband (and her life) is eating her from inside out.And as usual, Ryoo Seung-beom is fantastic as a sadistic, leering North Korean assassin, who perfectly captures the mock-suave panache of a European-boarding-school-educated, jet set kid easing into a life of immediate (material) gratification and criminal activities.Neither do, despite the crowd-pleasing presence of Han Suk-kyu, Southern agents play a significant role in The Berlin File.
Instead, the film works best when Ryoo focuses on the intolerable paranoia and distrust that poison and undermine the integrity of North Korean characters.Another film that drew much notice was the low-budget feature Jiseul, about 1948 massacre of civilians on the island of Jeju.Shot in Jeju dialect, the exquisitely crafted film won the top prize in the World Dramatic Cinema competition at Sundance before opening in Korea in March.Rather than paying lip services to the "Northerners are human beings too" rhetoric of ethnic reconciliation, the film addresses the fact that the Cold War ideology still survives in North Korea precisely because it serves the interests of the top-of-the-food-chain jackals like Dong (and his clan, the paterfamilias of which is played by Myung Gye-nam in an amusing cameo), who continued to fatten themselves at the expense of ordinary working stiffs like Pyo and Ryeon.As Dong sneers at one point, "People always change," even if the ideology remains unchanged.In the end, exciting and beautifully rendered as they are, I cannot help wonder if the movie really needed these head-spinning action set pieces.