#seo jeong ho

[filthy-mudeoki]

IYKYK

Healer (2014)

[gmzriver]

Parasite (2019) headers. 

like if you save or use.

[cinemoments]

Parasite, dir. Bong Joon-ho, 2019

[kdram-chjh]

Kdrama: Doctor Cha (2023)

They hugged each other but then realized they are love rivals 😂😂 | Doctor Cha Ep 7 #kdrama #shorts

Watch this video on Youtube: https://www.youtube.com/shorts/5-unbFrMpYc

[weirdhunterangel]

I think the preview for next week has potential. At least jeong suk is letting herself feel upset and show it.

I really dont want in ho to be the one that saves her. Id rather roy did. Because i dont want her to have anything to do with that jerk of a future ex husband.

[jang-geums-dream]

Official character introductions for season 2

[dean-winchester-is-my-cherry-pie]

I don’t know what I expected from Doctor Cha’s finale but it wasn’t bad. I think everyone got their nice ending. They showed how In-Ho is repenting(almost). And everyone being happy where they are. Though I was hoping Dr.Kim’s secret girlfriends would turn out to be Dr Cha but it’s fine I guess Dr. Cha is happy and healthy and making hella money and being independent is🤌🏼🤌🏼🤌🏼🤌🏼🤌🏼

Also ending the show with this ost was also 🤌🏼🤌🏼🤌🏼🤌🏼🤌🏼🤌🏼

Side note: what if dr cha and dr cha from ghost doctor are related!!

[anhed-nia]

BLOGTOBER 10/12/2022: THIRST (2009)

As I have a healthy respect for Park Chan-wook, I was embarrassed to realize that I couldn't really remember very much about this movie. Even when I've found his movies less successful emotionally or narratively speaking, they usually leave a stamp with their images and atmosphere. In my attempt to rectify the gap I had with THIRST, I remembered that there is just something about the whole movie and its motivations that eludes me. This may or may not be my fault.

Park Chan-wook's adaptation of the oft-adapted Emile Zola novel Thérèse Raquin, which he wrote for the screen with frequent collaborator Jeong Seo-kyeong, concerns a Catholic priest whose drive toward martyrdom accidentally renders him a vampire. Beset by ennui, Sang-hyun (the great Song Kang-ho) subverts his suicidal impulses into a more noble-sounding act of self-sacrifice, participating in an experimental vaccine test for the treatment of an Ebola-like virus. This nearly kills him, but he suddenly revives when he receives a blood transfusion—and thereafter he learns with horror that he has to keep drinking blood to continue staving off the virus. Though Sang-hyun feeds only on comatose hospital patients to avoid terrorizing or killing anyone, this doesn't totally cure him of his guilt, and he feels worse still when his "miraculous" recovery makes him into an involuntary faith healer with a powerful psychosomatic effect on his congregation. One of his new "patients" is an old friend, Kang-woo (Shin Ha-kyun), who lives with his overbearing mother Mrs. Ra (Kim Hae-sook) and his wife, the sullen, seductive Tae-ju. Soon, Tae-ju tells Sang-hyun that she was adopted as an orphan by Mrs. Ra, and she has been treated like a slave by the family all her life—especially by the sickly and feeble-minded Kang-woo, who does all sorts of perverted, sadistic things to her. With Sang-hyun and Tae-ju's inevitable affair comes the revelation that he is a vampire, and when Tae-ju witnesses his supernatural strength, she convinces him to kill her husband. The traumatic experience of the murder weakens the couple's bond, and Sang-hyun tries to resolve this by turning Tae-ju into a vampire, but this changes her into a remorseless monster—though perhaps she already was, as it turns out Kang-woo had never victimized her at all.

So that's a mouthful right there. On the one hand, THIRST is a familiar story about the moral conflicts of the vampire, wherein the monster clings to his humanity by "rescuing" his lover from her torment, and feeding in what he considers to be the least harmful way. There, Catholicism is leveraged to emphasize the guilt felt by the sinful creature that was once a man. On the other hand, we have a tawdry melodrama about a pair of selfish lovers who sacrifice another person to their forbidden affair, only to realize that their relationship can't bear the weight of their crime. There are connective threads throughout the piece: Intermittently, someone opines bluntly that suicidal ideation and ambitions of martyrdom are essentially the same. Occasionally, characters debate each other about whether an afterlife is possible, or whether death is the end. In the beginning, Sang-hyun notes the psychosomatic reactions of the faithful who beg him for healings, and then after the murder, he and Tae-ju struggle to convince themselves that the mocking apparition of Kang-woo that ruins their sex life is all in their minds. However, repetition of ideas doesn't always equal coherence, and I'm not sure all of these various philosophical musings really add up to a unified statement about anything.

While these diverse themes compete for dominance, the most consistent thing about THIRST is that it is intensely repulsive. In a way, this is refreshing for the vampire subgenre, which is so often sexy and elegant. Diseased blisters, peeling fingernails, bloody vomit, gnarly acts of flagellation, the snot-smeared Kang-woo sweating and farting and humping air, and even Sang-hyun's relatively sanitary method of feeding all make for an extremely queasy two hours and thirteen minutes. Sure there's a lot of steamy sex in the middle, but somehow, this tends to make the experience all the more noxious. Maybe that's part of the director's point—that we're supposed to participate in Sang-hyun's guilt (however wavering that guilt may be), that moral revulsion is the main mood here. But still, it was hard for this viewer to determine who she is meant to care about, and what she's supposed to hope will happen to them. Sang-hyun is a pious fop and a hypocrite who condemns others for their suicidal thoughts, while using the loophole of martyrdom to justify his own self-destructive urges. Tae-ju is at once infantile, and also cold and cruel, which we forgive when we think she's being abused—though that delusion is soon dispelled, and we're just left wondering what her problem is.

The Zola novel on which this is based met with disgust upon its debut, being called "putrid" by one prominent critic, so maybe all this ickiness is an appropriate way to honor the source material. Still, I'm not sure what Park Chan-wook is driving at, if THIRST isn't just a grand demonstration of abject cynicism. The moral conflict that he explores so deftly in his Vengeance trilogy seems to be replaced here by pure disillusionment. Familial love is rotten and incestuous, romantic love is just selfish ego-stroking, self-sacrifice is an act of vanity, and the body that gives and gets orgasms also produces pus, blood, mucus, and gas, while taking sustenance from the suffering of other living creatures. Sure, the movie is beautiful and inventive visually, aided by great performances from the ensemble, but I'm not sure what it ultimately wants from me. It's funny, sometimes when I see a movie that is populated by unlikable cretins and fueled by misanthropy, those things are exactly what I love about it. Other times, I can't tell what I'm supposed to get out of all that bitterness and loathing. THIRST, despite its creative pedigree, falls into the latter category.

[whenthegoldrays]

Okay but "You're Losing Me" is so Cha Jeong-suk coded

[kdramacaptures]

Nothing is without reason

[moon-soo-ah]

Stray Kids 『CASE 143 -Japanese ver.-』 Music Video

[passionforfiction]

Café Minamdang

This is a crime story that has a balance of suspense, action, comedy and romance. I loved the series. A team of an ex-profiler, ex-police and ex-NIS staff and a young inventor work in their café / Shaman house to hide their investigation operation where they want to find out who killed Prosecutor Han Jae Jeong. Things get complicated when Han Jae Hui and get team in the police start working on cases connected to Nam Han Joon's clients.

If you like crime stories with a good balance, you will like this one. It was series in the moments it needed to be and the situations and the way Nam Han Joon hides his talents under role of Shaman, makes you laugh, lighting the series.

Poster from Hancinema - https://www.hancinema.net/video--photo-english-subtitled-official-trailer-and-new-poster-added-for-the-upcoming-korean-drama-cafe-minamdang-161237.html

[gmzriver]

Parasite (2019) headers. 

like if you save or use.

[needwholesomeness]

Jangwoo and soheon beef is so real trust me

[movienized-com]

Walker

Walker (2024) #SeoJeongwon #AhnJiho #AhnNaesang #YoonYoosun Mehr auf:

검은 소년 Jahr: 2024 (Februar) Genre: Drama Regie: Seo Jeong-won Hauptrollen: Ahn Ji-ho, Ahn Nae-sang, Yoon Yoo-sun … Filmbeschreibung: Eine Mutter verlässt ihre Familie, weil sie die Gewalt ihres Mannes nicht mehr ertragen kann. Hoon, der sowohl seinen Vater als auch seine Mutter liebt, ist gezwungen, eine Entscheidung zu treffen und geht fort, bleibt jedoch am Ende allein…

[weirdhunterangel]

That moment when seung hee's daughter tells her that she has become poisonous. Like honestly that kid is messed up and I don't blame her. But she is about to do some shit and that will be entirely her own fault + in ho and seung hee obviously. Everything that goes wrong is somehow tied to them.

I would also like to state that the mother in law is honestly as trashy as her son. I honestly hope she suffers.