The music and entertainment industries were rapidly evolving, with new genres and the explosion of pop media culture. The youth culture of the 1990s in South Korea was characterized by a blend of global and local influences. The idiosyncratic nature of this group of youngsters is indeed connected to the existential boredom, rebellious spirit, and adrenaline-fueled thrill typical of any adolescence, but it is closely intertwined with the zeitgeist of 1990s South Korea.ĭespite their flaws, these characters embody the consequences of a flawed society and raise pertinent questions about the underlying issues that perpetuate their liminal existence. Isn't the director's purpose perhaps to bring to the forefront those individuals who are considered the discarded remnants of the metropolis, the forgotten ones, the defeated, and the outcasts? Perhaps the morally questionable characters in “Bad Movie” are so repugnant precisely because they are the failed product of the previous generation's shortcomings. However, it is precisely in this process of emotional confrontation with the protagonists that we find ourselves victims of the trap devised by Jang Sun-woo. Their authentic subversive spirit ends up rendering them almost unbearable to see. Those “bloody punks” that populate the two-and-a-half hours of this experimental work are precisely the antithesis of characters with whom one can empathize throughout the viewing experience. We witness motorcycles speeding through the main streets of Seoul, conversations among the homeless, young girls engaging in prostitution, drug addiction, and promiscuous sexuality played out in cramped KTV establishments, urban vandalism, and theft. Given the absence of a defined plot, the viewer is transported into spontaneous glimpses of violence and ordinary madness within the Korean capital. The film is divided into sub-chapters, such as “Sorrow of a Beggar”, “Why Did You Lie?” and “Robbing Middle-Aged Men”, featuring young rebels with whimsical nicknames like “Birdbrain”, “Mr. The most challenging aspect that significantly contributes to the complexity of understanding “Bad Movie” lies in its deliberately fragmented and chaotic structure. Follow our coverage of lesser known movies from Korea by clicking on the image below The abrupt changes in locations, characters, and style immerse the viewer in the suburban chaos of the metropolis, akin to finding oneself at a hectic street intersection, on the verge of being almost struck by a car. Jang Sun-Woo's camera becomes a frenetic force, ceaselessly moving through the city of Seoul, much like its youthful inhabitants. The film was shot on 35mm and 16mm film, employing a semi-documentary style that is incredibly intricate to follow. “Bad Movie” does not betray its underlying values it is what one imagines when thinking of a “bad” movie. The movie's manifesto immediately implies a rejection of rigid cinematic dogmas, while inviting the viewers to embark on a journey where the boundaries of storytelling, character development, and visual aesthetics are pushed to their limits. With such a striking and thought-provoking overture, the director signals a certain rupture with traditional storytelling conventions, embracing a more rebellious and unpredictable narrative structure. The premises that will shape the entirety of the film are evident right from the vibrant and colorful opening credits, set to the syncopated rhythm of punk-rock music: “Plot: not fixed.
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