It takes a very careful but wildly imaginative mind to return up and film Barking Dogs Never Bite. It's a mind that knows that a story isn't important right here, and should not be, that is a risk for any filmmaker, a whole lot much less a first-timer like Bong Joon-Ho turned into. It's loosely structured around two human beings, Yun-ju and Hyeon-nam, who live in an rental complicated and every address the rule of thumb of 'no dogs' of their very own manner. As do different tenants, just like the boiler-room janitor, who finds the stray (or near-lifeless) puppies and makes them as a part of soup. And, essentially, Joon-Ho follows those main souls, one a flaky accountant who loves to be out of doors, and another an aspiring professor who cannot stand the sound of puppies barking and comes to a decision to do 'something' about it, and fashions a very unique individual examine.
Moreover than being genuinely terrific approximately its characters, of whom the filmmaker has the maximum difficulty and warmth over (similar to in his movie the Host, in which the hilarity that comes from them and around them might seem like quite genuine), it is simply incredible visual storytelling. I cherished seeing how he framed his man or woman hiding in a closet inside the boiler room as the janitor is available in and tells his buddy the story of the useless man buried behind layers of concrete. I cherished on account that chase scene in which our essential heroine chases after the hero (or is it anti-hero) after he does something instead alarming with a small dog. And I simply cherished the temper of the piece, how he rolls in jazz song (Cowboy Bebop fan one might think or desire), and how on a dime an fun moment may want to flip sincerely extreme, after which again to amusing once more, from time to time inside the equal scene - the lonely antique girl with the little canine and loads of untended radishes shows that pretty truly.
A lot of this could be too quirky and not going in other palms, and truly it could not be pretty carried out like this in America (many within the target audience gasped at some of the perilous moments with the dogs - maximum similar, though still lighter, than Amores Perros). But the filmmaker, already jogging out of the gate on his first strive, sticks with the darker modes of his story and makes us care approximately these people, even if they're imperfect or simply undeniable silly or cruel, and their very own approaches of redemption or feeling vital to themselves is what counts. It's a comic powerhouse and a severe debut, light and darkish, complete of vigour and little moments which might be quiet enough for us to see those humans, like the pre-professor and his pregnant wife with some sad truths hidden underneath her, and that lady's unyielding coronary heart. It's like the perfect date-film creation to Asian cinema for Wes Anderson lovers.
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