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Pieta (2012) (DVD) (First Press Limited Edition) (Korea Version) DVD Region 3

Kim Ki Duk (Director) | Lee Jung Jin (Actor) | Jo Min Su (Actor) | Kang Eun Jin (Actor)
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YesAsia Editorial Description

For his 18th film, Kim Ki Duk returns to the unsettling themes, shocking violence and extreme portrayal of the loneliness and brutality of the human condition that characterized his earlier works. The first Korean film to win the Golden Lion at the Venice Film Festival, Pieta is a punishingly violent look at a twisted mother-son relationship portrayed by Jo Min Su, who won Best Actress at the Daejong Film Awards for her performance, and Lee Jung Jin (Troubleshooter).

Called a "devil" by his victims, loner debt collector Kang Do (Lee Jung Jin) has his own way of collecting outstanding loans – by maiming debtors and then taking their disability insurance payout. One day, a woman (Jo Min Su) appears before him, claiming to be the long-lost mother who abandoned him as a child. Kang Do subjects her to cruelty and humiliation to test her, but she takes it all without protest. Gradually, Kang Do accepts her as his mother and even begins to change for the better. Becoming more human, however, leaves him vulnerable to the violence and revenge of others.

This edition comes with making-of, Venice Film Festival footage, production report, poster shoot, gallery and trailer.

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Technical Information

Product Title: Pieta (2012) (DVD) (First Press Limited Edition) (Korea Version) 聖殤 (2012) (DVD) (首批限量版) (韓國版) 圣殇 (2012) (DVD) (首批限量版) (韩国版) ピエタ (DVD) (初回限定版) (韓国版) 피에타 (DVD) (초회한정판) (한국판)
Artist Name(s): Lee Jung Jin (Actor) | Jo Min Su (Actor) | Kang Eun Jin (Actor) 李廷鎮 (Actor) | 趙敏秀 (Actor) | Kang Eun Jin (Actor) 李廷镇 (Actor) | 赵敏秀 (Actor) | Kang Eun Jin (Actor) イ・ジョンジン (Actor) | チョ・ミンス (Actor) | Kang Eun Jin (Actor) 이 정진 (Actor) | 조민수 (Actor) | 강은진 (Actor)
Director: Kim Ki Duk 金 基德 金 基德 キム・ギドク 김기덕
Release Date: 2012-12-03
Language: Korean
Subtitles: English, Korean
Country of Origin: South Korea
Picture Format: NTSC What is it?
Disc Format(s): DVD
Region Code: 3 - South East Asia (including Hong Kong, S. Korea and Taiwan) What is it?
Rating: III
Publisher: KD Media
Other Information: 1-Disc
Shipment Unit: 2 What is it?
YesAsia Catalog No.: 1032004819

Product Information

피에타 (DVD) (초회한정판) (한국판)

*Screen Format: 1.85:1 Anamorphic Wide Screen
*Sound Mix: 5.1 Dolby Digital, 2.0 Dolby Digital
*Extras:
- 자비를 베푸소서 (15:00)
- 김기덕 히스토리 (2:26)
- 피에타 in 베니스 영화제 (5:00)
- 제작 보고회 (5:00)
- 포스터 촬영 현장 (5:00)
- 스틸 갤러리 (2:00)
- 예고편

*Director: 김기덕


■ 줄거리

결코 용서받을 수 없는 두 남녀
신이시여 이들에게 자비를 베푸소서…

채무자들의 돈을 받아내는 해결사 직업을 가진 강도(이정진)는 피도 눈물도 없이 목적을 위해서는 어떤 일도 하는 남자다. 고아로 자라온 그는 외로움의 감정도 느끼지 못할 정도로 감정이 메말라 버린 냉혈한.

어느 날, 그에게 엄마(조민수)라는 여자가 불쑥 찾아온다. 갑작스런 엄마의 등장에 그 여자의 정체를 의심하고 끊임없이 혼란스러워 하던 강도는 처음으로 누군가와 소통을 하고 애정을 쏟을 대상이 생기자 그녀에게 무서울 정도의 집착과 몰입의 감정이 생겨난다.

그러던 어느 날, 여자가 사라지고… 혼란스러워 하던 강도에게 의문의 연락이 오기 시작하고 곧이어 감춰져 있던 그와 그녀 사이의 잔인한 비밀들이 드러나기 시작하는데…


■ <피에타> 제69회 베니스국제영화제 황금사자상 수상!
대종상 영화제 심사위원 특별상 & 여우주연상 수상!
그 역사의 현장과 제작 과정을 특별 한정판 DVD로 만나다!

2012년 대한민국 영화 역사상 가장 중요한 성과는 바로 제69회 베니스국제영화제에서 김기덕 감독의 영화 <피에타>가 황금사자상을 수상한 일이다. 해외에서 그 가치를 더욱 인정받던 김기덕 감독은 각종 국제영화제에서 감독상 및 각본상, 그리고 마침내 영화제 최고상까지 수상하여 세계3대 영화제에서 최고상을 수상한 최초의 한국영화이자 감독이 되었다.

또 지난, 10월 30일 열린 제49회 대종상 영화제 시상식에서 <피에타>는 심사위원 특별상을 수상했다. 영화 속에서 폭발력 있는 연기력으로 베니스를 매혹시켰던 조민수는 대종상 영화제 여우주연상을 수상하여 국제 영화제에서의 관심과 국내 영화계의 선배 여배우로서의 자존심을 지켰다.

영화 <피에타> DVD에는 제작 메이킹 영상 및 베니스영화제에서의 기자회견 장면, 김기덕 감독의 미니 히스토리 영상 수록되어 있다. 또, 영화 <피에타>의 베니스국제영화제 수상 전에 녹음된 감독과 배우 코멘터리는 보다 영화적인 순수한 접근이 가능한 진솔한 이야기들이 담겨있어 보다 소장 가치 있는 DVD될 예정이다.

■ <피에타> 수상 기념 특별 엽서 5종과 김기덕 감독 싸인,
선착순으로 증정되는 감독과 두 주연 배우들의 친필 싸인 패키지

영화 <피에타> DVD는 베니스국제영화제 황금사자상 수상을 기념으로 특별 한정판으로 출시 된다. 특히, DVD에는 특별 엽서 5종이 함께 수록될 예정이며 엽서 중 하나에는 김기덕 감독의 특별 싸인이 포함된다. 또 초판 DVD선착순 구매 소비자들에겐 감독과 두 주연 배우들의 자필 싸인이 담긴 DVD 속지가 함께 증정된다. 특별 한정으로 제작되는 DVD 패키지는 하드케이스 한정판으로 제작되어 영화의 수상과 더불어 그 소장가치를 더할 예정이다.

■ <영화는 영화다>, <풍산개> 김기덕 사단의 센세이션한 신작

흥행영화 제작자 김기덕, 새로운 화법으로 관객들에게 돌아오다!
김기덕 감독 작품의 연출부로 시작해 현재까지 충무로에서 맹활약을 펼치고 있는 수제자들을 일컫는 ‘김기덕 사단’. 김기덕 감독만큼 많은 감독을 데뷔시킨 연출자도 드물며, 직접 그들의 제작자로 나서기도 했다. 특히 2008년 <영화는 영화다>, 2011년 <풍산개> 제작을 통해 작품성과 대중성이라는 두 마리 토끼를 모두 거머쥐는 저력을 보여주었다. 김기덕 감독의 작품은 다소 어렵다는 인식과 다르게, 그가 제작을 맡은 영화들을 미루어 보아 김기덕이라는 브랜드는 대중과 밀접하게 맞닿을 수 있음을 여실히 증명한 것이다.

연출자로 다시 돌아온 김기덕 감독은 또 한번 관객들에게 다가서기 위해 <피에타>를 제작했다고 고백한다. <피에타>는 악마 같은 남자 ‘강도(이정진)’ 앞에 어느 날 엄마라는 ‘여자(조민수)’가 찾아와 두 남녀가 겪게 되는 혼란, 그리고 점차 드러나는 잔인한 비밀을 그린 작품이다. 이처럼 김기덕 감독의 신작 <피에타>는 현대 자본주의 사회의 비극을 다루며 대중들이 보편적으로 공감할 수 있는 메시지를 전하는 동시에, 김기덕 감독의 색이 그대로 녹아 있어 더욱 기대를 모은다. <영화는 영화다>, <풍산개>에서 평단과 대중의 고른 지지를 받으며 새로운 제작 시스템을 구축하게 된 김기덕 감독의 신작 <피에타>는 그의 최고 흥행작 <나쁜 남자>를 뛰어넘는 대중적 센세이션을 선보였다.
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This film has won 2 award(s). All Award-Winning Asian Films

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YumCha! Asian Entertainment Reviews and Features

Professional Review of "Pieta (2012) (DVD) (First Press Limited Edition) (Korea Version)"

January 8, 2013

Pieta marks the 18th film from Korean auteur and agitator Kim Ki Duk, following up on his exceptionally personal and enjoyably bizarre 2011 Cannes winning documentary Arirang which he made as part of a 3 year self-imposed exile from the industry. The film sees Kim returning to the same grim territory in which he made his name, dealing with violence, perversion, anger and angst in a harsh tale of a brutal loan shark and a woman claiming to be his mother. With Lee Jung Jin (Troubleshooter) and Jo Min Su in the lead roles, the latter taking Best Actress at the Daejong Film Awards for her performance, the film saw Kim continuing his prize winning streak, picking up the prestigious Golden Lion at the Venice Film Festival, being the first Korean production to have done so.

Lee Jung Jin plays Kang Do, a particularly unpleasant debt collector, who makes money by crippling his debtors and cashing in on their insurance payouts, seeming to take pleasure in the pain and suffering he causes. His life is thrown into turmoil when one day a woman (Jo Min Su) turns up at his door, claiming that she is the mother who abandoned him as a child. Understandably suspicious and tormented, Kang subjects her to a variety of punishments to try and call her bluff, but gradually comes round to the idea that she might be telling the truth. As her unconditional love slowly seeps through into his heart and opens his eyes to the world, he starts to become paranoid that one of his victims is planning vengeance.

Pieta really does see Kim returning to his roots, taking place against a squalid background of dirty alleyways, rundown shacks and cramped machine shops, and exploring themes of loneliness, self-abuse and hatred. Given its mother-son subject matter, the film unsurprisingly plays out very much like an especially bleak and tense Greek tragedy, its drama hard hitting and harsh throughout, and much more grounded and depressingly human than in some of Kim's recent outings like Dream or Breath Through this, it works very well as a revenge drama of sorts, with a mid-film twist which though predictable is used expertly by Kim to dig even deeper and heap on even more agony. Though reasonably straightforward in narrative terms (at least by his own standards), the film is still ambiguous and at times abstract, Kim as usual leaving the viewer to make up their own mind on his use of religious imagery and capitalist metaphor. Although none of this is anything new for those familiar with the director's works, the film feels fresh and more mature, Kim seeming to have been blessed with renewed vigour following his exile.

Where the film really hits home is through the depth of its characters, with both Kang and his mother being rich and multi-layered characters, Kim fleshing them out subtly and through small details in their behaviour rather than manipulative back stories or exposition. There's a lot left unsaid and for the viewer to discern, and this adds to the tension and to the depth of the fascinatingly twisted relationship at the film's core. The film lurks unrepentantly in moral grey areas, and though Kang is a devilish brute, the viewer is never allowed to forget that he is also a human being, who himself has suffered terribly, and who is by no means devoid of emotion. Thanks in part to an excellent performance by Lee Jing Jin, equal parts sneering barbarity and touching vulnerability, it's hard not to feel sympathy for him, and the film is at times acutely uncomfortable to watch as a result. Jo Min Su is similarly on impeccable form as the mysterious mother figure, and their shifting bond, defined by a disconcerting mixture of passion and misery, is powerful and moving.

Pieta is a very dark film indeed, and features some extremely tough scenes, enough so to mark it as being not for everyone. Though Kim keeps much of the violence and blood out of shot, the film is unflinchingly nasty and callous in relentless and ruthless fashion, leading up to a gruesome last scene which sticks in the memory for some time. Worse still is the film's sexual violence, which though never exploitative in the least, is hard to stomach and will likely prove too perverse and distasteful for some viewers. This having been said, it's the film's emotional and psychological violence which punish the viewer more than its visceral scenes, and this makes it difficult for even hardened souls to escape its many horrors.

Pieta is not only a triumphant return to dark drama for Kim Ki Duk, but one of his best films to date, no small praise given the unfailing quality of his output. Though undeniably a tough watch, it's a film which succeeds fully on both an emotional and artistic level, and which again confirms Kim as one of the most talented directors working in Korea and indeed the world today.

by James Mudge – BeyondHollywood.com

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Customer Review of "Pieta (2012) (DVD) (First Press Limited Edition) (Korea Version)"

Average Customer Rating for this Edition: Customer Review Rated Bad 8 - 8 out of 10 (1)

numinair
See all my reviews


June 25, 2013

1 people found this review helpful

A painful iconic reflection of mad austerity Customer Review Rated Bad 8 - 8 out of 10
A Kim Ki-duk movie is no doubt going to be deep and heavy to watch and his 18th movie is no exception! ‘Pieta’ a modern posthumous allusion to Michelangelo’s Christ and mother sculpture is emotionally painful, violent and sad. Kang-do (Jung-jin Lee), a hardened debt collector decides to physically cripple small business owners, then use the maimed debtor’s insurance claims as his collected payment. But Kang-do is confronted by a pitying woman (Min-su Jo) claiming to be his mother and follows Kang-do on his daily brutality. Kang-do’s logical reaction is irritated disbelief, but the woman slowly turns his life. For one Kang-do was abandoned as a child, and by a mother’s absence creates a misogynist resentment in Kang-do as he regularly thrusts a kitchen knife into a paper drawing of a nude female on a dartboard; Kang-do’s futile expression of womanly betrayal. But as the woman relentlessly beseeches Kang-do she’s his mother, he angrily insists her to prove it, which results in violent and humiliating scenes; one of such sexual violence that’s very difficult to watch. But eventually Kang-do mellows when inwardly convinced the woman is that someone who birthed him, and even begins to show humane feelings towards his debtors when hope seems to shine. But as violence as been thrashed out by a dead soul walking, Kang-do’s new grace is eventually met by a revenge he’d never expect.

Of self-hatred and abuse ‘Pieta’ is as harsh and bitter as its crumbling environments, of people’s rage, misery and pain at the behests of servitude, money worries, poverty and abandonment. A shifted kaleidoscopic miasma of hurtful influence transforming Kang-do into an obliquely violent ‘monster’. A lonely soul weathered into a barren landscape of insecure hatred, and a torn woman of muted misery his only saviour. ‘Pieta’ as many nuances and symbolic elements (coincidental for me were the cramped industrial cog machinery shops, desolated building blocks, severe and brutal violence and KKD’s four season themes at the time I’m gaming ‘The Last of Us’) and socially symbolic of a wider aspect about pressurising debt than one man’s bitter angry life. How mainstream industrialization reduces small business prospect to ruin, and those of the latter needing loans for personal survival. But another reason for Kang-do’s cruelness is he’s the recipient of violent intolerance from his loan shark boss as well as the murky past of his forgotten abandonment. A hard but interesting movie.
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