Ask Korean director Jin Jide about all his films.

Actor's work

Another spring is in spring, summer, autumn and winter BOM Yeo Reumgae Ulgyeo Ulgeurigo BOM (2003).

Director works

Sad Dream (2008)

Breathing (2007)

Time is also called the lie of desire (2006)

Bow Hwal (2005)

Samaritan girl Samaria (2004)

Empty Bin jip (2004)

Another spring is in spring, summer, autumn and winter BOM Yeo Reumgae Ulgyeo Ulgeurigo BOM (2003).

Bad Boys and Bad Guys (2002)

The Truth Shilje sanghwang (2002)

Shoreline Hae anseon (2002)

The recipient is unknown Suchwiin bulmyeong (200 1).

Drifting room Seom (200 1)

Paran Daemun, a child prostitute (1998)

Yasaang East Murbohogo (1996), the wildlife capital.

Crocodile Crocodile (1996) debuted

Screenplay works

Time magazine (2006)

Bow Hwal (2005)

Empty Bin jip (2004)

Samaritan girl Samaria (2004)

Another spring is in spring, summer, autumn and winter BOM Yeo Reumgae Ulgyeo Ulgeurigo BOM (2003).

Bad Boys and Bad Guys (2002)

The Truth Shilje sanghwang (2002)

Drifting room Seom (200 1)

The recipient is unknown Suchwiin bulmyeong (200 1).

Paran Daemun, a child prostitute (1998)

Yasaang East Murbohogo (1996), the wildlife capital.

Crocodile Crocodile (1996)

magnum opus

Samaritan girl

[Edit this paragraph] Evaluation

The overall level of Jin Jide's films is very high, and the themes are quite rich. Among them, spring, summer, autumn and winter and another spring are the strongest and most complete, the most realistic is the coastline, the most impactful is the unreceived love letter, the most concentrated pen and ink is the bad guys, and the most concentrated pen and ink is the wandering room. The Samaritan girl is not prominent in all his works. Because here, all his past things have not been lost, and his rare pity and tolerance are natural at the end of this film.

The Samaritan Girl is a great breakthrough in Jin Jide's creative thinking. Although the play is still full of cruel violence and exposure of human nature, at the end, Jin Jide gets rid of the simple methods he used to, and ends his painful life with death. Such an open ending reflects a change in Jin Jide's creative mentality, which began to appear in another spring of spring, summer, autumn and winter, but was realized in The Samaritan Girl.

The story tells that two underage girls meet for prostitution in order to save enough money for a trip to Europe. One of them is responsible for keeping in touch with customers and being vigilant, and the other is responsible for having sex with customers. Once, a girl who betrayed herself in the process of being arrested by the police committed suicide by jumping off a building. Another girl who witnessed the tragedy was greatly stimulated and absurdly decided to sleep with men who had traded with friends and exchange money for them in order to get redemption. Unexpectedly, her father inadvertently found that he could not accept this reality, so he followed his daughter and beat her clients. In the end, he completely lost control and killed a man who slept with his daughter, thus embarking on a road of no return. After the murder, the father took his daughter into the mountain to sweep the grave of his dead wife, and called the police after the mountain the next day. When the police arrived, his daughter was learning to drive. Seeing that her father was taken away, she drove hard to catch up, but stumbled on the mountain road.

According to Jin Jide's previous thinking, the inevitable result of this unclean life is to arrange the death of both father and daughter. In fact, Jin Jide has not completely abandoned this possibility. He couldn't help explaining this possibility to the audience. However, this possibility was denied by himself in the form of a dream. The father's struggle shown here is actually the last struggle of Jin Jide's creative thought. From the perspective of generalized semiotics, isolated islands, stranded fish and girls are all symbols of South Korea in reality. In most of Jin Jide's works, these images express a form of cutting and injury. The girl in The Girl of Samaria continues a kind of self-mutilation redemption after the death of her friend (which can also be regarded as a symbol of injured and self-mutilation North Korea). Then, when this way of redemption was detected and stopped by the father (meaning the power of love and traditional morality), the father stopped the impulse to kill his daughter. At the last minute, he taught his daughter the ability to control her life (driving is also a symbol here). The rest of my life will be up to my daughter. Although the road is still bumpy, the father has no obligation or power to decide his daughter's life and death. For Jin Jide, Korean films and even the Korean nation, this is a great conceptual progress. (New Movie/Tik Tok)