Derek Childs (totalovrdose) The film opens with a severely beaten Anna (the always beautiful Wang Tei) desperately struggling to come to terms with what led to the death of an, as of yet, unidentified male. Much of the film operates in this fashion, providing the viewer with enough of a taste to comprehend what may have happened, however, rarely definitively illustrating an exact answer, allowing the audience's imagination to fill in the blanks. On one hand, this has the unique feel of independent cinema, and allows viewers much freedom, though at the same time, can become frustrating, considering we, the viewers, long for completeness to quench our thirst for knowledge.Seven years later, in the midst of a prison sentence, Anna is given a three day furlough to visit her mother's funeral. On the way to Seattle, she bumps into Hoon (Hyun-Bin), who asks her to lend him money for bus fare, and though he promises to pay her back, Anna shows little interest. Ms. Tei convincingly plays a woman who has become disillusioned and pessimistic from her time in prison, while exhibiting melancholy in a city which has changed since she was last there.By chance, she meets Hoon once more, who offers to take her around Seattle. Hoon is, for lack of a better term, a gigolo, however, his explanation sounds far more advertising, though at the same time, he seems painfully romantic, garnering feelings for some of the women he meets, despite being required to maintain his professionalism.On the run from the jealous husband of a woman who fell in love with him two years earlier, Hoon is a man whose life has taken a turn for the worse, much like Anna's, yet continues to maintain optimism and confidence, that attracts her to him. Surrounded by judgemental relatives, Hoon is the one man who accepts Anna for who she is.The chemistry between the leads is especially great, there being a number of equally dramatic and humorous moments to behold. Moreover, a number of scenes are very memorable, including a moment when Hoon and Anna break into an amusement park, alongside another time when Anna discusses some of her past.The multiple locations are brilliantly brought to life by the cinematography, which further draws us into the experience, while the use of sound and music is just as effective.By the conclusion of the film, I was left feeling a little empty, for unlike other features, that serenade us with fantastical plots of everlasting love, director Kim Tae-Yong never tries to force anything. Instead, he creates a feature that feels very genuine, right down to the painful reality that not everything is destined to end happily ever after, despite our wishful thinking.(Half of the film is in English, while the other half is sub-titled).

asthab If you are looking for one of those happy and feel-good movies, then this one is not for you. However, if you are up for a different experience, knowing it might not end well(who knows!), then you are in for a beautiful ride. Its a simple story. No complications there. Its just the chemistry between the lead guy and the girl is precious. It just goes on to prove that all you need are few dedicated minutes with a person to know if you like them. And sometimes, it helps not to look too far down in the future. Live today - for all you have. The movie is a treat if you want to watch a relaxing movie on a lazy Saturday night. I loved it!

freetogo Two strangers met in a bus trip. Anna has been in jail for 7 years and is on a 3day bail to attend her mom's funeral. Hyunbin is at large and hiding from Police. Anna is a Chinese while Hyunbin is a Korean. In the movie, their only language to communicate is English. Hyunbin see in Anna's eyes knowing that she has numerous unresolved feeling to say but don't want anyone to hear. He encourages her to dub words for passersby and to talk with him in Chinese.In this movie, you can't see any dramatic story. Neither is there sexy love scenes nor violent. All these details are skipped. Instead, it is about how to live para hoy while failing to forget the past.

Avery Hudson Man chu | Late Autumn Director: Kim Tae-Yong Republic of Korea (South Korea), Hong Kong, China, USA 2010 English, Korean, Mandarin Cast includes Tang Wei (Anna), Hyun Bin (Hoon).A young woman waits in an empty diner outside a lonely bus stop. Pie and a cup of coffee. She touches neither. Every sound of footsteps, she turns. She smiles. "Hi. It's been a long time."Man chu opens with Anna staggering down a suburban street, bloodied, face bruised, clothes torn. We learn that she has killed her abusive husband. Seven years later, serving out the sentence for her crime, Anna is given two days' compassionate leave to attend her mother's funeral in Seattle, tied to prison by a cell phone that rings periodically and which she must answer, giving her location.As Anna's bus pulls out of a station, Hoon, a young dandy and rent boy, jumps aboard. He doesn't have enough money to pay for his ticket and asks to borrow money from Anna. He is Korean, Anna is Chinese – he seems to assume a bond? Deciding whether to give a stranger 30 bucks.Thus two unlikely misfits meet and fall in love, despite all odds.Man chu, a remake of a 1966 Korean film of the same name, is ravishingly filmed with a RED camera transferred to D-Cinema Cinemascope, featuring deeply affecting lead performances by the Chinese actress Tang Wei and South Korean actor Hyun Bin and strong supporting performances, including two white dancers who silently act out a beautifully composed break-up scene choreographed by Dayna Hanson and dubbed by Anna and Hoon in a brilliant sequence filmed in a derelict amusement park.Anna and Hoon speak to each other in English, when Anna decides to speak at all. (Tang Wei achieves the lion's share of her unforgettable performance in silence.) In one emotionally devastating scene, Anna tells Hoon her story step by step in Chinese. He interprets by her face and responds to each sentence "Hao" (good) or "Huai" (bad). Though it is evident he does not understand, his responses reveal deep empathy, which Anna recognizes in an extended sequence of acting without words – one among many in this profoundly actorly film.One slow dissolve on Anna's beautiful face is destined for the annals of film history, I think.