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Pieta (Blu-ray) (Special Priced Edition) (Japan Version) Blu-ray Region A

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Pieta (Blu-ray) (Special Priced Edition) (Japan Version)
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All Editions Rating: Customer Review Rated Bad 8 - 8 out of 10 (1)

Technical Information

Product Title: Pieta (Blu-ray) (Special Priced Edition) (Japan Version) Pieta (Blu-ray) (廉價版)(日本版) Pieta (Blu-ray) (廉价版)(日本版) 嘆きのピエタ (Blu-ray) (廉価版) Pieta (Blu-ray) (Special Priced Edition) (Japan Version)
Artist Name(s): Lee Jung Jin | Kim Ki Duk | Jo Min Su 李廷鎮 | 金 基德 | 趙敏秀 李廷镇 | 金 基德 | 赵敏秀 イ・ジョンジン | キム・ギドク | チョ・ミンス | パク・イニョン | ウ・ギホン 이 정진 | 김기덕 | 조민수
Blu-ray Region Code: A - Americas (North, Central and South except French Guiana), Korea, Japan, South East Asia (including Hong Kong, Macau and Taiwan) What is it?
Release Date: 2020-08-05
Publisher Product Code: KIXF-769
Disc Format(s): Blu-ray
Publisher: King Records
Shipment Unit: 1 What is it?
YesAsia Catalog No.: 1091928808

Product Information

[アーティスト/ キャスト]
チョ・ミンス / イ・ジョンジン / ウ・ギホン / キム・ギドク (監督、脚本、編集、エグゼクティブ・プロデューサー) / パク・イニョン (音楽)

リバーシブルジャケット

[特典情報]
期間限定特典:専用応募ハガキ封入、キャンペーン応募券/映像特典収録

[テクニカル・インフォメーション]
本編104分
製作国 : 韓国 (Korea)

[解説]
愛と言う名の魔物。/天涯孤独に生きてきた借金取りの男。/男の母だと名乗る謎の女。/初めて母の愛を知った男を待つ、衝撃の真実…/そして世界が言葉を失った、ある愛のカタチ。/この愛は、本物か、偽物か——。/前代未聞の“愛”の結末に世界が言葉を失った、衝撃のラスト。激しく胸を揺さぶられる、魂のサスペンス・ドラマ。/北野武監督の『アウトレイジ ビヨンド』やポール・トーマス・アンダーソン監督の『ザ・マスター』など世界中の話題作がひしめいた第69回ヴェネチア国際映画祭—。並みいる強豪を抑え、最高賞である金獅子賞をみごと受賞したのは、キム・ギドク監督『嘆きのピエタ』だった。この世界三大映画祭(カンヌ、ヴェネチア、ベルリン)での最高賞受賞は、韓国映画史上初という歴史を塗り替える快挙であった。『嘆きのピエタ』は衝撃に次ぐ衝撃、二転三転の展開、目を背けたいのに目が離せない過激な描写、それなのに、想像を絶する美しくも切ないラストシーンに世界が涙した話題作である。必ずや観る者は未曾有の衝撃と感動に打ちのめされるはずだ。借金取り立て屋を演じるのは、若手実力派俳優イ・ジョンジン。母の愛を知っていくにつれ次第に人間の心を取り戻していく男ガンドを、猛々しさと30男の幼気なさを巧みに使い分けて、観る者を物語に引き込んでいく。一方、ベテラン女優チョ・ミンスが、母親を名乗る女を、緊張感を全編に張りつめさせ圧倒的な存在感で演じ切る。まるで役が憑依したかのような熱演は、韓国アカデミー賞である大鐘賞映画祭主演女優賞をはじめ世界で賞賛された。

[ストーリー]
生まれてすぐ親に捨てられ、30年間天涯孤独に生きてきた借金取りの男ガンド。冷酷無比な取り立ての日々を送る彼の前に、突然母親だと名乗る謎の女が現れる。女は本当にガンドの母親なのか?なぜ今、現れたのか—?疑いながらも、女から注がれる無償の愛に、ガンドは徐々に彼女を母親として受け入れていく。ところが突然、女が姿を消して…。

[受賞]
2012年ヴェネチア国際映画祭金獅子賞
[受賞]
第49回大鐘賞映画祭審査員特別賞 ()
[受賞]
第49回大鐘賞映画祭主演女優賞 ()
[受賞]
第13回TOKYO FILMEX観客賞 ()
[受賞]
第32回韓国映評論家協会賞最優秀作品賞 ()
[受賞]
第32回韓国映評論家協会賞監督賞 ()
[受賞]
第32回韓国映評論家協会賞主演女優賞 ()
[受賞]
第32回韓国映評論家協会賞国際批評家連盟賞 ()
[受賞]
第33回青龍映画賞最優秀作品賞 ()
[受賞]
第17回サテライト・アワード外国語映画賞 ()
[受賞]
第9回ドバイ国際映画祭アジア・アフリカ長編コンペティション部門最優秀監督賞 ()
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YumCha! Asian Entertainment Reviews and Features

Professional Review of "Pieta (Blu-ray) (Special Priced Edition) (Japan Version)"

January 8, 2013

This professional review refers to Pieta (2012) (DVD) (First Press Limited Edition) (Korea Version)
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

This original content has been created by or licensed to YesAsia.com, and cannot be copied or republished in any medium without the express written permission of YesAsia.com.

Customer Review of "Pieta (Blu-ray) (Special Priced Edition) (Japan Version)"

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

numinair
See all my reviews


June 25, 2013

This customer review refers to Pieta (2012) (DVD) (First Press Limited Edition) (Korea Version)
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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