"The Empty House" Movie Review Essay & Film Analysis

House - imprint of his master identity, impression of his life with successes and disappointments, leaflet desired achievement. That is the standard family - a nondescript apartment, except that the formal portrait of mismatched translates the joy of truly open smile of a child to openly tortured his father. Here are a happy family, which do not need to show: love drenched air, attached wall, stuffed satin pillows of her rustling green small patio and silent fish in the pool. But unhappy family: a married wealth puffy declares itself expensive accessories for golf and faux statues (obviously redundant in the revealing oriental garden), and the other half wandering around the house restless shadow, as if alive only half - the half that purple with bruises and abrasions, but has almost no voice. Tae-suk also has no voice, but at the same time at home, he spends the night in an empty apartment while the owners are absent - if invisibly leaves a mark in the lives of others or, on the contrary, creates a fiction of his own life. He was one of those who pass by and then forgotten, but somehow Sung-hwa went with it, and now the two shadows roam together, filling the void sonorous silence others houses ...
Kim Ki Duk - a true artist, only if he had previously painted colors, but now takes them on tape. Because happens in his work and piece-made beauty, and patterned decoration stop a moment, but guessing the meanings seem to simultaneously search for black cats in bamboo and water in the Pacific Ocean. Each tape - is personified metaphor, an X-ray of mental images, a tear of the god in amber; they can not be taken literally, because stories are not viable, the characters never existed, the laws of physics perelitsovany in the piano score. "Empty House" was coined when the director took a promotional flyer with the door handle, undeciphered silent heroes - one of the elements of corporate identity, well, harsh eastern metaphysics it seems, in the blood. narrative logic is constantly at odds with the logic of the familiar, but Kim is quite natural that the girl leaves with a strange guy who broke into her home repaired scales and wash things - because she leaves her husband, treated her as a things, once bought profitable, but now faded to a mental hole scandals and nagging. It is not strange that one day she returns to a happy home, where she was just fine - and present owner does not chase a guest, and allows you to quietly sleep on a satin pillow. Expectedly symbolic that Tae-suk in their travels do not steal, and in return received food and shelter repairing things like correcting the failure in the lives of others; but this carries with it a stick wife of Song-hwa, a sign of its strength, power and wealth, arguing that without them he would remain a nobody, as empty as his home. Fascinating cute as Tae-suk is learning to be invisible to others, and absolutely perfect as it gets them to always be close to his beloved.
Probably this is a movie about alienation. About inconspicuous existence of hundreds of residents of many thousands of cities that are indistinguishable in the crowd, forgettable at work, passers-by, whose parallel destinies never crossed perpendicularly world. Especially in Asia, where there are a lot of people, especially in Korea where, without being formally submitted, they are to each other as if there are no remaining social stealth. Of course, this is a film about loneliness. An emotionally empty houses, the "silent" ones, which we, immersed in themselves, do not hear or do not want to hear about the desire to escape into the world, where we get lost a little more. Perhaps this is a film about love. About the one that does not need words to be truly family that does not have borders in the form of walls and the marriage bond, which does not cast a shadow on the scale and gives weightless "zero". Definitely this is a film about balance. About retribution for the crimes, even by accident, on the return of debts, even paid, of retribution for evil or for good, of inner harmony as an antidote against disharmony external, that the house should be peace, comfort, etcetera peace, then the house filled with happiness, even ghostly, half-hearted, for the elite. Of course, this is a film about the void. Inner, nagging emptiness of each person, as if the vessel is filled unfulfilled fantasies, phantoms feelings, desires and fears ... But in fact, this is a film about the Great Void. About Buddhist sunyata-sunyata - emptiness of the void, the words of which are as pointless as trying to grasp the immensity. On the free, deliciously pure emptiness, which gives freedom from everyday dirt from the senselessness of suffering, from the power of money, feelings, delusions and other shackles of reality that does not allow us to know the truth and take off happy.
imprisoned Tae-suk, mastering esoteric practices, not simply tries to mimic the surrounding area, he turns it inside out, and he becomes a void, a sense - enlightenment, supreme wisdom, nirvana. Nothingness, zero. Invisible Life became invisible genuine outsider - otherworldly metaphor withdrew in, two shadows merged into one, the yin and yang balanced the mystical world into balance. The guy and the girl joined in the spiritual dimension, which, of course, more important than a temporary physical proximity. "Empty House" - a movie about a beautiful fullness of being, appearing with earth anchors. Wonderful in its unreality of the story of that love and thoughts are no borders, because we exist in the world that have created yourself.

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