Direkt zum Hauptbereich

The Last Stop



A review of Jong chak yeok

Four young schoolgirls who are part of a photography club are given the task of taking a photo of the end of the world with old-fashioned cameras over their summer vacation. They come up with the idea to drive to the end of a train line to take the photos there. But the trip turns out differently than planned, as the end of the train line doesn't really look like the end of the world. Thus, their trip extends throughout the day, and the four friends wander through rural Korea - laughing, persistent, and inquisitive.

Jong chak yeok is one of those kinds of films that - festival goers and skilled strays of the film landscape aside - most people are unaware of. Films with no real structure, no certain points in character development to check off, no real goal - a film that simply tells a story of life. Here, unlike other representatives of this type of films, still equipped with a certain principle, a supposed end point, the film shuttles along, managing to entertain simply through its playful simplicity and its lively main characters. In this case, it is also only diminishedly about moving the viewer emotionally - even if the film could evoke feelings of melancholy and memories of balmy summer days for some - but to simply let him participate in a day in the life of the protagonists.
© Tiger Cinema & DGC

This simplicity becomes the film's greatest advantage. Thus, it always manages to entertain throughout its rather short running time. This is partly due to the refreshingly real dialogues, as well as the believable acting of all the child actors. Here it's not important to be able to identify with any of the characters, it's not important to be emotionally invested in the story, the important thing is to sit back and get into what's on offer. When you do so, you get exactly the blooming fresh dialogues you expect. And that's when Jong chak yeok will appeal to you the most.

Because if you tune in for relaxed, calm and comfortable entertainment without a lot of melodrama, without any conflicts and without any background music, that's exactly what you'll get back. The film does not play with expectations and does not try to trick the viewer in any way. Quite the opposite, the film gives you exactly what you are hoping for in a heartfelt, young-feeling manner. With nice ideas, such as not withholding the taken photos from the viewer, out the back also thought-provoking conversations that manage to capture the atmosphere in such somewhat heavy topics well and equipped with an eye for the small details, Jong chak yeok sets off through unknown land and delivers comfortable, fresh and simple feel-good cinema. In an open-air cinema, among people and hopefully with the slowly setting sun in the back, the film should then be able to unfold its complete effect - to evoke pleasant memories.
09.06.2021, Yaron

Kommentare

Beliebte Posts aus diesem Blog

“Once you leave you can never go back to who you were as a child” - Im Gespräch mit der Regisseurin Venice Atienza von “Last Days At Sea”

Am Mittwochvormittag durfte ich mit der philippinischen Regisseurin Venice Atienza über Zoom sprechen, deren Dokumentarfilm “Last Days at Sea” im diesjährigen Berlinaleprogramm gezeigt wird. Es entspann sich ein inspirierendes Gespräch über ihre empatische Art, Filme zu drehen und was es heißt, sich auf der Leinwand als Regisseurin vulnerabel zu zeigen. fGR: Would you like to introduce yourself shortly? My name is Venice Atienza. I initially studied cinema, but before that I actually wanted to be a chef. One day, when I was 16 or 17 years old, I was watching a Korean drama and I asked my mother: “What job makes people feel things?” and she replied by asking me “Why don’t you become a film maker?”. After applying for the second time I finally got into film school. I really always knew I wanted to make documentaries but did not know how. A friend of mine then told me about the project Doc Nomads which I got accepted at. That was the first time I saw a bit more experimental documenta...

Kinder- und Jugendhilfe in der Schweiz - ein System zum Scheitern?

Ein Hintergrundartikel zu "La Mif" In dem Schweizer Film „La Mif“ portraitiert Regisseur und Drehbuchautor Fred Baillif den Alltag und die Probleme junger Mädchen und deren Betreuer:innen in einem Kinder- und Jugendheim. Die Systeme dahinter scheinen wirr und teilweise nicht auf das Kinderwohl ausgelegt zu sein. „Ein Kinderheim ist kein Gefängnis“ sagt Heimleiterin Lora ein Mal, als sie sich wegen eines Vorfalles im Kinderheim einem Ausschuss stellen muss. Doch wie sieht dieses System hinter der Kinder- und Jugendhilfe in der Schweiz aus? Ein Blick hinter die Kulissen verrät, wieso die Strukturen bei „La Mif" so undurchschaubar wirken. Die Schweiz ist bekannt für seinen Föderalismus - das Land gliedert sich in 26 Kantone, die meisten Gesetze entstehen auf dieser Ebene. Bundesweite Regelungen zur Kinder- und Jugendhilfe existieren nur sporadisch und beziehen sich nur auf die Ernstfälle: wann in das Elternrecht eingegriffen werden darf, welche finanziellen Mittel fü...