I Am Keiko is an ambient, existentialist, and experimental film in which the titular character existentially waits for her 22nd birthday while also reminiscing the death of her late father. In spite of the seriousness of his subjects, Sono still manages to include some comedic tones in his films. It was also evident here, though, the darkness and the comedy were more subtle as this film turned out to be rather ambient. There were numerous stillness and quietness that perhaps Sono intentionally gave allowance for his audience to think and ponder also in between the film.

I think this is the very allure of slow and ambient films for me. Some might consider such as boring, but I think it's rather empathetic, understanding, and thoughtful; to have the filmmaker not only give you the questions, then, also give you absolute answers or options after. Rather, they give you only questions and time to have yourself ponder with the character and perhaps figure out the answer on your own.

"I am dying for my life."

22:22

I am Danforens. I am Danij. I am Dani.
She is Keiko. She turned 22.
I, too, will be 22 this November.

1, 2, 3, 4, 5, 6, 7...17...60.
Keiko is one minute older.
She kept counting.
I, too, likes to count in my head
for no apparent reason.

She waited for her birthday.
She hoped to be reborn after.
I don't wait for my birthday.
I can start again today.
Though, I am not certain how to.

22:29

We have lived for 7 minutes more.
And 7 minutes closer to death.
Each passing moment,
we are dying for living.
"I am dying for my life."

Read More

A simple, but delightful drama which was akin to spring transitioning to summer...

I hesitated at first to watch this drama. I've seen Shin Se Kyung's past dramas and I was not convinced with her acting then. In addition, there are three distinct genres that do not easily catch my attention: sports, musical, makjang, and war or period shows. Run On happened to be about sports. Still, I followed my instincts and tried to watch the first episode and to my delight, I was not disappointed at all. I think assertive characters fit Shin Se Kyung more as her acting was convincing this time.

Run On seemed more of an ambient film. It was not particularly plotless, but it was not really centered on its plot. It rather more focused on its characters—their behaviours, growth, and how they perfectly contrasted each other.


Run On still relied in some known clichés, though, it was brilliant enough to craft its own refreshing twists as it was rather progressive than just blindly confining to the conventions of such known clichés. It was great that it also gave way in empowering women.


I also appreciated how they portrayed each character with realistic flaws without overdramatically romanticizing them: the rational and independent, but condescending and insensitive Dan-ah; the creative and adorable, but childish Yeong-hwa; the ethical and hardworking, but socially awkward Seon-gyeom; Mi-joo, who was also independent and hardworking, but sometimes tactless. Even the supporting characters did not disappoint with the interesting character study. I also appreciated how the drama tackled the fondness for cinema; Mi-joo worked as an English subtitle translator and the name Yeong-hwa also means "film".


This was overall a simple, but delightful drama. This was akin to spring transitioning to summer. It was just a relaxing show to sit on as you relish in the four season tropical punches brought by each character's quirks and flaws.

Read More

About five years after I've seen WKW's Fallen Angels, I am glad to have seen Chungking Express finally. Of course, there's the Wong Kar-Wai's very own auteur, unique style, experimental aesthetic, and great soundtrack that really draws the viewer in appreciation of his works. But, in addition to that, regardless of Wong's characters personified by their dreamy and romanticized foolishness or cluelessness; rather than finding them annoying, it was so easy to be pulled in the ethereal and quirky comedy of Wong. Indeed, I was laughing almost in the entirety of the film. Wong really proved that romanticization is not at all completely bad if it was done right. Despite not being heavy on its plot, the unusual persona of his characters and unpredictability of events and arcs, in addition to his very own excellent filmmaking techniques, had led to the classic charm of his films.

Read More

My Mister greatly shown the reality of human condition. It tackles the existential life and social realism: poverty, office politics, abuse, familial issues, and communal interconnectedness. I was extremely impressed with this series' writing that it has become one of my few and ultimate KDrama favourites. My Mister was not a romantic love story, but it made me ponder of my own heart's state. To be human is something that is not easy to do nor understand; to love, as in for the sake of humanity and not of emotions, is a great thing, only after you know what it truly means. As I have told myself always, a person who loves with their feelings are never to be trusted.

I am in awe with how all the characters were created or personified; they were not flat and most importantly their personas and imperfections were not romanticized. They were all just outright human beings with interesting, but realistic back stories. Though, with the exception of Ji An's techie gamer friend, I wish that there was more background regarding his life.

Furthermore, what made this series even greater was that it's not meant to be emotionally happy neither unfortunately tragic (or perhaps that's just how I comprehended it). There was no sense of longing or nostalgia (I, personally, dislike regression, myself). This series was made for healing and closure and to remind all of us that there is nothing too tough for us, in our past nor in our present, to build a new beginning and a greater future. Everyone, let's keep moving forward.

Read More