칸에서 기립박수 받은 '괴물' [머니투데이 스타뉴스 김관명 기자] 제59회 칸국제영화제 감독주간에 초청, 처음 공개된 봉준호 감독(사진)의 새영화 '괴물'(제작 청어람)이 현지에서 기립박수를 받았다. 22일 영화사측에 따르면 '괴물'은 지난 21일 오후 11시30분(현지시간) 프랑스 칸의 노가힐튼에서 1000여명의 평론가와 기자, 배급사 관계자, 일반 관객이 참석한 가운데 처음 공개됐다.
영화사 관계자는 "영화 마지막에는 눈물까지 흘리며 영화의 감동과 여운을 만끽하던 관객들이 영화가 끝나자마자 모두 기립하여 엔딩 크레디트가 다 올라갈 때까지 열광적인 박수를 보냈다"며 "뿐만 아니라 처음 듣는 영화 음악의 박자에 맞춰서 흥겹게 박수를 이어나가는 폭발적인 반응까지 보였다"고 전했다.
세계적인 영화잡지 버라이어티의 데릭 엘리는 "아무도 이렇게 만들어 낼 줄은 상상하지 못했기 때문에 관객의 반응이 이토록 강한 것이다. 모두가 다 놀랐다"고 말했다.
토론토 국제 영화제 프로그래머 콜린 지대는 "괴물이 나오는 영화 중에 최고의 영화다. 그러면서도 감동적인 드라마가 있다. 송강호 등 배우들의 연기, 촬영 모든 것이 훌륭하다"고 극찬했다.
평범한 가족의 괴물과의 사투기 '괴물'은 오는 7월27일 국내 개봉한다.
봉준호 감독의 ‘괴물’에 제 59회 칸 국제영화제에서 관객들로부터 뜨거운 반응을 얻었다고 제작사 청어람이 전했다.
이에 따르면 칸 영화제 감독 주간에 초청돼 21일 자정 직전 칸 노가힐튼 극장에서 심야상영된 ‘괴물’은 관객들로부터 환호와 함께 기립박수를 받았으며 유력 국제영화제 프로그래머와 세계 각지에서 모인 기자, 감독으로부터 호평을 받았다.
미국 영화업계지 버라이어티의 데릭 엘리 기자는 “아무도 이렇게 만들어 낼 줄은 상상하지 못했기 때문에 관객의 반응이 이토록 강한(strong) 것이다. 모두가 다 놀랐다”고 평했으며, 토론토국제영화제의 콜린 저디스 프로그래머는 “괴물이 나오는 영화 중에 최고의 영화”라며 “송강호 등 배우들의 연기, 촬영 모든 것이 굉장히 훌륭하며 특히 봉준호 감독은 ‘살인의 추억’에 이어 탁월한 역량을 보여줬다”고 평했다.
베를린국제영화제 감독 포럼 크리스포트 부문의 크리스포트 테레 히테는 “매우 흥미롭고 놀랍고 엔터테인먼트적”이라며 “‘살인의 추억’을 굉장히 재밌게 봐서 영화를 굉장히 많이 기다렸는데, 기대 이상으로 훌륭했다”고 말했다.
이 밖에도 영국의 영화 감독 이반 리차드는 “연출, 특수효과 모두 뛰어나다”고 했으며 프랑스 영화배급사 파테의 줄리앙 로세는 “사실은 ‘고질라’ 같은 영화를 기대하고 왔는데 그 이상”이라고 평했다고 청어람은 전했다.
‘괴물’은 칸에서 처음으로 공개됐으며 오는 7월 27일 개봉예정이다.
이형석 기자(suk@heraldm.com) ----------------
(서울=연합뉴스) 윤고은 기자 = 제59회 칸 국제영화제 감독주간에서 월드 프리미어를 가진 봉준호 감독의 영화 '괴물'(제작 청어람)이 기립박수와 함께 극찬을 받았다. 배급사 쇼박스에 따르면 '괴물'은 프랑스 현지 시각으로 21일 밤 11시30분 노가힐튼에서 첫 상영을 했으며, 좌석을 가득 메운 1천여 명의 관객으로부터 높은 호응을 끌어냈다.
쇼박스는 22일 "상영이 시작되자마자 탄성이 쏟아졌으며, 중간중간에 박수가 나오는 이례적인 반응을 보였다"면서 "관객은 영화가 끝나자 모두 기립해 엔딩 크레디트가 다 올라갈 때까지 열광적인 박수를 보냈다"고 전했다.
취재진과 영화 관계자들을 대상으로 한 시사회에서 관객들은 "아무도 이렇게 만들어 낼 줄은 상상하지 못했기 때문에 관객의 반응이 이토록 강한 것이다", "괴물이 나오는 영화 중에 최고의 영화다", "이 영화제에서 가장 뛰어난 영화 중 하나"라는 등의 반응을 보인 것으로 알려졌다.
송강호ㆍ배두나ㆍ박해일ㆍ변희봉 주연의 '괴물'은 한강 둔치를 무대로 평범한 한 가족이 괴물과 사투를 벌이는 내용. 국내에서는 7월27일 개봉 예정이다.
pretty@yna.co.kr
By DEREK ELLEY
On almost every level, there's never quite been a monster movie like "The Host." Egregiously subverting its own genre while still delivering shocks at a pure genre level, and marbled with straight-faced character humor that constantly throws the viewer off balance, much-hyped b ig-budgeter about a huge mutant tadpole that emerges from Seoul's Han River is a bold gamble that looks headed to instant cult status. Broader biz, especially beyond East Asia, will depend heavily on reaction to its world preem in Directors Fortnight, and some re-editing would better equip it for specialty distribution in the West. Film is set for a wide, late July release in South Korea, followed by an early September roll-out in Japan, which provided almost half of the reported $10 million coin (huge in local terms). Helmer Bong Joon-ho ("Barking Dogs Never Bite," "Memories of Murder") has not ruled out some tweaking in the meantime. Reaction at its gala midnight screening on Sunday, heavily populated by Asiaphiles, was a mixture of admiration and discombobulation.
Beyond all the fancy visual effects -- way above the rocky level of recent Asian fantasies like "The Myth" and "The Promise" -- in tone the picture falls somewhere between the social parable of "Dogs" and the character-driven, offbeat drama of "Memories."
Pic, which is not even in widescreen, will be best appreciated by auds who just go with the quirky flow rather than expect regulated, U.S.-style thrills. In its mix of genre-bending, political asides and character emphasis, there are strong parallels with Larry Cohen's 1982 cult classic, "Q: The Winged Serpent."
Prologue, set six years ago at the U.S. Army Base in Yonsan, Seoul, has a South Korean flunky ordered by his Yank boss to empty gallons of aging formaldehyde into the sink -- and therefore straight into the Han River, which flows through the capital. Clearly ludicrous English-language scene (which would benefit from revoicing) signals Bong's lack of interest in making a science-heavy blockbuster -- there's little emphasis on the usual government-military paraphernalia of such movies.Cut to October '06 and locals are enjoying a day out on the banks of the river. Among them are convenience stall owner Park Heui-bong (Byeon Heui-bong), his idle doofus son, Gang-du (Song Gang-ho, the cop in "Murder"), and the latter's daughter, young high-schooler Hyeon-seo (Ko A-sung).
When something is spotted hanging beneath one of the bridges and then sliding into the river, the locals pelt it with cans and snacks. But, Gang-du and Hyeon-seo are more interested in watching the televised National Archery Championships, in which her young aunt, Nam-ju (Bae Du-na, lead in "Dogs"), is competing.
First appearance of the monster is aces, catching the viewer off guard after a slow build-up. Combo of visceral energy and offbeat humor, plus Lee Byeong-woo's pounding drum music, is impressive, and as the creature finally scoops up Hyeon-su with its tail and swims off,the stage is set.
When the Park family assembles later at a funeral parlor, pic again throws the viewer as their grief turns to physical in-fighting, with Gang-du's younger brother, jobless graduate Nam-il (Park Hae-il), blaming Gang-du for Hyeon-su's death.
The government claims the creature is host to a horrifying, unknown virus and fumigates the area. Following the death of a Yank soldier, the U.S. military decides on "direct intervention" by using a secret chemical weapon, Agent Yellow. Meanwhile, Gang-du & Co., convinced by a cell phone call that Hyeon-su is still alive, escape the government quarantine and hunt down her and the creature. Script's political content is more occasional barbs than a fully developed subtext. Bong maintains the focus on the Park family, with Gang-du lumbering through the drama with assists from onetime student revolutionary Nam-il and expert archer Nam-ju. Problematic central section could do with 15 minutes of tightening. Final half-hour, however, is aces as all the threads connect, with no simple heroes and a kind of sad, messy triumph, plus a barbed coda.
Perfs are more than fine with especial kudos to Ko as the plucky Hyeon-seo, local star Song as the working-class slob, and Bae as the sportswoman.
Visual f/x, supervised by Kevin Rafferty ("Star Wars: Episode I -- The Phantom Menace") and largely done by San Francisco-based The Orphanage, are a slick meld of CGI and animation, while always reminding the audience that, at the end of the day, the creature is only a movie monster.
Camera (color), Kim Hyeong-gu; editor, Kim Sun-min; music, Lee Byeong-woo; production designer, Ryu Seong-heui; costumes, Jo Sang-gyeong; sound (Dolby Digital), Lee Seung-cheol, Choi Tae-yeong; visual effects-animation, The Orphanage (San Francisco); visual effects supervisor, Kevin Rafferty; special creature effects, Jang Heui-cheol. Reviewed at Cannes Film Festival (Directors Fortnight), May 21, 2006. Running time: 118 MIN.
뉴욕타임즈.. Another offering from South Korea — and the best film I've seen to date at this year's festival — is "The Host," which for some reason is screening outside the main festival program in a parallel section called the Directors' Fortnight. Directed by Bong Joon-ho, who made the policier "Memories of Murder," this terrific hybrid-genre fantasy about a mutant creature with a lotuslike mouth and a steady appetite has been alternately described as a monster movie and a science fiction thriller, but is also a comedy, a family drama, a political critique and, at times, a seriously scary freak-out. Mr. Bong can shift moods and tones on a dime, and when the loudly appreciative audience wasn't laughing at the witty dialogue it was shrieking at tensely wound scenes as effective as any in Steven Spielberg's "War of the Worlds."
There are several South Korean films at Cannes this year, including "The Unforgiven," an impressive first feature from Yoon Jong-bin. The film, which is screening out of the main competition in a section called Un Certain Regard, follows a sensitive young man (he listens to Belle and Sebastian) through the brutalizing first years of his military service. The film's complex narrative structure cost it some viewers during its first press screening (the scandalously bad projection didn't help), but those who stuck with it were rewarded by a film that, much like Roman Polanski's "Pianist," shows how individuals can be broken by systems of power bit by soul-crushing bit. Mr. Yoon also wrote the script and plays one of the two pivotal supporting roles, as yet another young man who slips under the boot.
Another offering from South Korea — and the best film I've seen to date at this year's festival — is "The Host," which for some reason is screening outside the main festival program in a parallel section called the Directors' Fortnight. Directed by Bong Joon-ho, who made the policier "Memories of Murder," this terrific hybrid-genre fantasy about a mutant creature with a lotuslike mouth and a steady appetite has been alternately described as a monster movie and a science fiction thriller, but is also a comedy, a family drama, a political critique and, at times, a seriously scary freak-out. Mr. Bong can shift moods and tones on a dime, and when the loudly appreciative audience wasn't laughing at the witty dialogue it was shrieking at tensely wound scenes as effective as any in Steven Spielberg's "War of the Worlds." MANOHLA DARGIS
A Showbox/Mediaplex (in South Korea)/Kadokawa Herald (in Japan) release of a Chungeorahm Film, Showbox/Mediaplex (South Korea)/Happinet Corp. (Japan) presentation, in association with participation of OCN, Knowledge & Creation Ventures Co., IBK Capital Corp., Cineclick Asia, Cowell, BiNext Capital, IMM Investment Corp., SBS, M-Venture Investment, Tube Pictures Co., Sego Entertainment Co., CJ Venture Investment, Boston Investment Co., of a Chungeorahm Film production. (International sales: Cineclick Asia, Seoul.) Produced by Choi Yong-bae. Executive producers, Choi, Kim Woo-taek, Jeong Tae-sung. Co-producer, Jo Neung-yeon. Directed by Bong Joon-ho. Screenplay, Bong, Ha Jun-weon, Baek Cheol-hyeon; story, Bong.
With: Song Gang-ho, Byeon Heui-bong, Park Hae-il, Bae Du-na, Ko A-sung, Lee Dong-ho, Lee Jae-eung, Yun Je-mun, Kim Roi-ha, Park No-shik, Yim Pil-sung. (Korean, English dialogue)
On almost every level, there's never quite been a monster movie like "The Host." Egregiously subverting its own genre while still delivering shocks at a pure genre level, and marbled with straight-faced character humor that constantly throws the viewer off balance, much-hyped big-budgeter about a huge mutant tadpole that emerges from Seoul's Han River is a bold gamble that looks headed to instant cult status. Broader bizbiz, especially beyond East Asia, will depend heavily on reaction to its world preempreem in Directors Fortnight, and some re-editing would better equip it for specialty distribution in the West. Film is set for a wide, late July release in South Korea, followed by an early September roll-out in Japan, which provided almost half of the reported $10 million coincoin (huge in local terms). Helmer Bong Joon-ho ("Barking Dogs Never Bite," "Memories of Murder") has not ruled out some tweaking in the meantime. Reaction at its gala midnight screening on Sunday, heavily populated by Asiaphiles, was a mixture of admiration and discombobulation.
Beyond all the fancy visual effects -- way above the rocky level of recent Asian fantasies like "The Myth" and "The Promise" -- in tone the picture falls somewhere between the social parable of "Dogs" and the character-driven, offbeat drama of "Memories."
Pic, which is not even in widescreen, will be best appreciated by auds who just go with the quirky flow rather than expect regulated, U.S.-style thrills. In its mix of genre-bending, political asides and character emphasis, there are strong parallels with Larry CohenLarry Cohen's 1982 cult classic, "Q: The Winged Serpent."
Prologue, set six years ago at the U.S. Army Base in Yonsan, Seoul, has a South Korean flunky ordered by his Yank boss to empty gallons of aging formaldehyde into the sink -- and therefore straight into the Han River, which flows through the capital. Clearly ludicrous English-language scene (which would benefit from revoicing) signals Bong's lack of interest in making a science-heavy blockbuster -- there's little emphasis on the usual government-military paraphernalia of such movies.Cut to October '06 and locals are enjoying a day out on the banks of the river. Among them are convenience stall owner Park Heui-bong (Byeon Heui-bong), his idle doofus son, Gang-du (Song Gang-ho, the cop in "Murder"), and the latter's daughter, young high-schooler Hyeon-seo (Ko A-sung).
When something is spotted hanging beneath one of the bridges and then sliding into the river, the locals pelt it with cans and snacks. But, Gang-du and Hyeon-seo are more interested in watching the televised National Archery Championships, in which her young aunt, Nam-ju (Bae Du-na, lead in "Dogs"), is competing.
First appearance of the monster is aces, catching the viewer off guard after a slow build-up. Combo of visceral energy and offbeat humor, plus Lee Byeong-woo's pounding drum music, is impressive, and as the creature finally scoops up Hyeon-su with its tail and swims off,the stage is set.
When the Park family assembles later at a funeral parlor, pic again throws the viewer as their grief turns to physical in-fighting, with Gang-du's younger brother, jobless graduate Nam-il (Park Hae-il), blaming Gang-du for Hyeon-su's death.
The government claims the creature is host to a horrifying, unknown virus and fumigates the area. Following the death of a Yank soldier, the U.S. military decides on "direct intervention" by using a secret chemical weapon, Agent Yellow. Meanwhile, Gang-du & Co., convinced by a cell phone call that Hyeon-su is still alive, _escape the government quarantine and hunt down her and the creature. Script's political content is more occasional barbs than a fully developed subtext. Bong maintains the focus on the Park family, with Gang-du lumbering through the drama with assists from onetime student revolutionary Nam-il and expert archer Nam-ju. Problematic central section could do with 15 minutes of tightening. Final half-hour, however, is aces as all the threads connect, with no simple heroes and a kind of sad, messy triumph, plus a barbed coda.
Perfs are more than fine with especial kudos to Ko as the plucky Hyeon-seo, local star Song as the working-class slob, and Bae as the sportswoman.
Visual f/xf/x, supervised by Kevin Rafferty ("Star Wars: Episode I -- The Phantom Menace") and largely done by San Francisco-based The Orphanage, are a slick meld of CGI and animation, while always reminding the audience that, at the end of the day, the creature is only a movie monster.
Camera (color), Kim Hyeong-gu; editor, Kim Sun-min; music, Lee Byeong-woo; production designer, Ryu Seong-heui; costumes, Jo Sang-gyeong; sound (Dolby Digital), Lee Seung-cheol, Choi Tae-yeong; visual effects-animation, The Orphanage (San Francisco); visual effects supervisor, Kevin Rafferty; special creature effects, Jang Heui-cheol. Reviewed at Cannes Film Festival (Directors Fortnight), May 21, 2006. Running time: 118 MIN.
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Well, it looks as if my source was reliable, at least in the case of Manohla Dargis. "Periodically dazzling" and "often funny," she calls Kelly's much-maligned effort, though that's the full extent of her defense; while all of the other segments of this latest Times report (some written by A.O. Scott) amount to capsule reviews, Dargis barely addresses Southland Tales per se, focusing instead on what she clearly considers to be the unduly harsh reaction of her peers. Indeed, you don't have to squint very hard to locate, between her lines, an angry lament about the sorry state of contemporary film criticism: "Look at all these blinkered idiots who don't recognize excellence when they see it," runs the pointed subtext. I can empathize, since I was among the few defenders of Vincent Gallo's original cut of The Brown Bunny here three years ago, and found myself bewildered and dismayed by the hostility it provoked. Still, I wish Dargis would just say what she means, rather than couch her irritation in passive-aggressive, ostensibly objective "reporting." Meanwhile, I'm now on a quest to find Richard Kelly, assuming he hasn't already skipped town, and force him to watch Bong Joon-ho's terrific The Host, a low-budget (by American standards) creature feature playing in the Director's Fortnight. If nothing else, he'd get an object lesson in how to yoke bitter political commentary to goofy genre mechanics without becoming fatally mired in self-indulgence. Best known for his remarkably grim police procedural Memories of Murder (widely considered one of the finest films commercially released in the U.S. last year), Bong here demonstrates a facility for virtuosic mayhem to rival Spielberg's; despite special effects that were state-of-the-art around 1993, the first appearance of the monster ranks among the most thrilling and imaginative action sequences in recent memory -- serious hold-your-breath-when-you're-not-nervously-giggling stuff. And yet it's a fair question whether Hollywood will come calling, because no major studio would ever countenance popcorn fare this determinedly bleak and despairing -- The Host makes comparatively grown-up summer flicks like War of the Worlds and Batman Begins look downright sunny by comparison. Indeed, the monster is arguably the least of beleaguered hero Song Kang-ho's problems, even though it's holding his teenage daughter in the bowels of the Seoul sewer system. A full-scale assault on governmental and military negligence and incompetence (both American and Korean), the film never allows its anger and sorrow to overwhelm our natural rooting interest in the characters and their struggles. I can only hope to see a Competition entry this impressive.
Bong Joon-Ho's THE HOST just had its first screening in Cannes and I got a phone call from one of the attendees who said that it was so good that in the middle of the screening several audience members who were on crutches suddenly stood up, approached the screen, touched it and were cured. They just threw away their crutches! Also, the production company has released a press release about how great the screening was and while that's not the most unbiased source of information possible, the quotes all do sound good.
So the word now? Cannes made a big mistake to pass this over and let it go to Director's Fortnight. What with the generally lukewarm SUMMER PALACE and the badly reviewed SOUTHLAND TALES (from DONNIE DARKO director, Richard Kelly) being called an "...enormous flat pancake..." it sounds like the official competition at Cannes this year is pretty weak.
한국영화올해 칸에는 윤종빈의 첫번째 작품인 ‘용서받지 못한 자’를 포함한 몇몇 한국영화가 있다.
순수한 장르 수준에 충격을 주면서 엄청나게 파괴하는 이 장르는,서울의 한강에 출현한 한 거대한 돌연변이 올챙이에 대해 맞서는 영화로, 등장인물의 유머가 섞여있으며, 현 컬트현상으로 보이는 무모한 도박이다.
감독주간에서의 첫 개봉에서의 반응은 동아시아를 넘어 좀더 폭넒은 사업에 많이 영향을 줄 것이며, 서양의 전문배급자를 위해 재편집을 준비되는 것이 좋을 것이다.
영화는 한국에서 7월 하순에, 천만달러(약110억)의 반을 제공한 일본에서 9월초에 개봉된다.
봉준호(‘짖는 개는 물지않는다’, ‘살인의 추억’)은 비틀기를 무시하지않는다.
아시아인들에게 특히 인기가 많았던, 일요일에 축제의 한밤중 상연의 반응은 존경과 discombobulation 의 짬뽕이었다. (주:누가discombobulation 좀 해석;; '불협'인가?)
이 영화는 신화’와 ‘무극’과 같은 아시아적 환타지의 엄청 높은 수준을 넘어선 환상적인 시각효과에다가, ‘짖는 개는..’의 사회적인 우화와 등장인물의 조종, ‘살인의 추억’의 색다른 드라마와 다소 겹친다.
와이드스크린은 아니였지만 영화는 전형적인 미국스타일의 스릴보다 더 변화가 심한 관객들에게 최고의 찬사를 받을 것이다.
허를 찌르기, 정치적 측면과 등장인물의 강조 같은 이 혼합장르에는 레리코헨의 1982년 컬트 클래식인 ‘Q; : The Winged Serpent.’와 엄청난 유사점이 있다.
스포일성이 있습니다 이제부터~~~~
서울 용산의 미군기지에서의 6년 전, 미국인보스가 한국의 아첨꾼에게 대량의 포름알데히드를 수도에 흐르는 한강에 바로 버리라고 명령하는 것으로 프롤로그는 시작된다.
우스꽝스러운 영어 장면(소리를 없애는 게 나을 것 같다)은 과학블럭버스터에 대한 봉준호의 흥미 부족을 드러낸다.
이 같은 영화에 나오는 일반적인 정부군사 장비를 중요시하고 있지않기 때문이다.2006년 8월, 주민들이 한강에서 즐거운 시간을 보내고 있다.
그들 중에는 박회봉(변희봉)이라는 매점주인, 그의 게으르고 별난 아들인 강두(송강호, ‘살인의 추억’의 형사) 그리고 그의 막내딸인 고교생 현서(고아성)이 있다.
다리의 기둥에 무언가가 있다가 한강으로 쑥 미끄러지자, 주민들은 캔과 과자를 그것에게 던진다.그러나, 강두와 현서는 그것보다 TV중계되고 있는 국제양궁대회에 더 관심이 있다.
그녀의 이모인 남주(배두나, ‘짖는 개..’의 주인공)이 참가하고 있기에…
괴물의 첫 출현은 관객들의 시선을 잡기에 짱이다. 이병우의 힘찬 드럼음악이 합세된 데다, 본능적인 에너지와 기이한 유머가 있어 매우 인상적이다,
결국 그 생명체가 꼬리로 현서를 채어가 헤엄쳐갔을 때 무대가 완성된다.박씨가족이 장례식에 모였을 때, 영화는 다시 슬픔을 현서의 죽음에 대해 비난하는 강두의 동생인 백수대졸 남일(박해일)과의 육체적인 싸움으로 전환되는 것을 관객에게 보여준다.
정부는 그 생물체는 무서운 미지의 바이러스라고 주장하면서 그 지역을 소독한다.
미국군인의 죽음에 따라, 미국부대는 비밀화학무기인 에이젼트 엘로우를 사용하는 ‘직접적인 간섭’을 결정한다.
반면, 강두는 현서가 아직 살아있다는 휴대폰전화로 확인한다. 그러나, 정부는 현서와 그 생명체를 추적해서 잡지 않는다.
스크립트의 정치적 내용은, 완전히 전개된 숨겨진 의미보다 좀더 비판적이다.봉준호는 한때 학생 혁명가였던 남일과 전문궁수인 남주에게 도움을 받아 극을 통해, 강두를 육중하게 나아가게 하여, 박씨 가족에 계속 초점을 맞춘다.
의문의 중심부분은 15분으로 압축할 수 있었다. 아무튼, 마지막 30분은 모든 실마리가 연결되어, 어떤 영웅과 어떤 슬픔, 감상적인 승리도 없는 신랄한 결말로 멋지다.
발랄한 현서의 고아성, 노동계급인 지방 스타의 송강호와 스포츠우먼인 배두나가 아주 좋았다.
케빈 래퍼티(‘스타워즈:에피소드1-보이지않는 위험’)와 샌프란시스코에 있는 The Orphanage가 담당한 시각 특수효과는 컴퓨터그래픽과 에니메이션에 잘 녹아 있다.
그러나, 관객들은 그것을 보았을 때에는 그것은 단지 영화괴물로만으로 보일 것이다.(주: CG가 잘되었나봐요) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 칸에서 본 ‘괴물’
봉준호의 ‘괴물은 칸에서 첫개봉을 이제 막 했다.
나는 참석인 중 한사람에게서 전화를 받았는데, 이 영화가 너무 좋아,지팡이를 하고 있던 몇몇의 관객은 상영도중에 일어서서 스크린에 다가서서 스크린을 만졌는데,병이 나았다고 말했다.그들은 지팡이를 던져버렸다!
또, 프로덕선 회사는 그 상영이 얼마나 괜찮은 지에 대한 언론발표를 했고 편견없는 정보자료가 아닐지 모르지만, 인용문 모두 좋다고 말한다.
그래서 지금 무슨 말하냐구?
칸은 이 영화를 그냥 지나쳐버리는 감독주간으로 보내는, 아주 엄청난 실수를 저질렀다는 거다.
일반적으로 뜨뜨미지근한 ‘섬머팔래스’와 나쁘게 비평되는 ‘사우스랜드 테일스’(도니 다코 감독, 리차드 켈리)이라니… 이 영화들은 ‘거대한 평범한 팬케이크’로 불린단 말이다.