[News] ‘Human, Space, Time and Human’ will be screened in Japan in March, 2020

Credit: https://ningennojikan.com/
Finally the date of ‘Human, Space, Time and Human’to be screened in Japan was confirmed. It’s on March 20th. Here’s the official poster image.
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The advanced ticket with bonus postcards has been already sold out…
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8 thoughts on “[News] ‘Human, Space, Time and Human’ will be screened in Japan in March, 2020”

  1. I saw the movie three weeks ago. I said: oh, terrible. How can the fear of famine change people so quick?
    How can the power of instincts be more powerful than the education and good sense?
    I understand, it is a metaphor, it is Kim ki duk style, when you see the movie, you say, oh, no, not that. But after a week, you need to see it again, cause you begin to understand, the Kim ki duk’s movies make you think, are not for entertaining.
    And I saw it again. I began to see and understand the art with which it was made. At the second view I was able to see the art even in the rape scene, with Adam’s struggle between delicacy and instinct. Brilliant played.
    It took me some time to understand the title, the repetition. It is the reverse of the mankind story. It is now from the humanity back till Adam and Eve, the powerful Eve – the symbol of a new beginning.
    I treasured it, a good movie, to remember, a big metaphor with great actors. My life was going on.

    But after a week, in my town, the virus panic began . Not much, two-three days, people bought food supplies. It was so strange, they looked like zombies, nervous, brutal, even the close ones that I know from many years. And I remembered again the movie. Yes, people can change in a few days. It was like a deja vu. But you know what? I was looking to them like the old man in the movie did; calm, without a word. That is how a good movie can help.
    Thank you, JKS.

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  2. Just wrote something abt Sukkie must be worried sick n so frustrated not being able to contribute to the world any of his comforting super powers, same as he did for Japan after 2011 disaster, with Guardian star dedicated to them. It is destined elsewhere, as eels can use his past work but Sukkie is not enough known is the world, this is a great loss for anyone who can’t benefit from him, now more than ever but just imagining how Sukkie himself, being so caring n sensitive as he is, feels right now, is heart breaking. Right now have no words to express my thanks, seeing your comment. It put me more at ease now.

    Maybe you saw it in your following him, maybe not – when he chose to play a difficult character in based on a true story “The case of Itaewon murder” (later he said it burdened him at a too young age, playing psychological rows, this was not the only character with psychological features he played back in those years), he said he was thinking abt the importance of it cos it was still an open case. Later when the case was closed he expressed his satisfaction and felt that the art may have influenced the society. It is not a quote but the idea I got is that he felt it was a mission, personally and proud of the Korean art industry as well. Hopefully it will get to him somehow and make him feel better, comments like yours.

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  3. In my garden it is raining with petals. I enjoyed it and I looked at the sky.
    I thanked God that he is not exposed, he has no public life during this period.
    He helps us without even being present, more than he can imagine.

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  4. Same thought apparently crossed every single eel’s mind, personally felt it’s inappropriate to express as it puts him above others in some meaning, he won’t like it n I already feel ashamed I’m not yet in the place he is (accepting even haters in some level, loving all humanity, letting anger go – only reason not referring to myself as an eel is out of respect for him and eels) . It is inevitable though, to feel like this anyway, have to admit – THANK GOD he is not exposed! taking into consideration probably NOTHING can prevent gatherings around him especially after almost 2 years of waiting, adds another meaning to it…

    Your comment is especially important as this movie can’t reach general public yet, even not all eels as it was just now released in Japan. It also got some harsh views/opinions, even artistically speaking – it was said not only that it deals with issues already dealt with, but also that it’s somewhat “pale” if this is the right word, compared to the productions mentioned there. But here lies exactly the most important thing that Sukkie does with his hallyu power – not only exposing ppl that would have never thought watching this kind of movies, just bcs he’s in it, it is also meaningless that other productions r out there as for this audience it’s the first encounter. Sounds that y’re not included as y’re familiar with Kim Ki Duk, expressing your view regarding his movies (as in plural).

    Unlike U, in my case it was his music that turned my world upside down, then his personality overwhelmed me n before that was just puzzled n wondering what in the world happened that so many ppl r infected by him so deeply. I did not fully appreciate his acting due to my own inability, it becomes more n more clear.(only in Love rain he totally blew my mind, don’t have access to other masterpieces of his n still didn’t watch Beethoven virus as it was said the monologues there are deep n my English is far from enabling me to follow such. No point in just seeing him, there’s more than enough for a lifetime in his vids, performing, delivering messages to the world – he’s like a flood, only a positive one!).

    Having the deepest appreciation to both Sukkie as an artist as well as a sensitive n active human being, only thing for me is seeing his acting through the eyes of ppl who r able to appreciate n it thrills me to read it. Now, it proves that many other ppl r unaware what they’re missing n also maybe unable to detect what U just described can be detected only after “sinking”, right? The declared purpose of the movie is trying to accept instead of judging out of fear (that “old man” you mentioned is the most respected actor in Korea, a veteran). Maybe confused with some views n it’s not the declared one, never mind, the point still stands n it goes right back to above 2nd line mentioned in this comment of mine.

    Maybe U can find some link to Hungarian media with views, or even just comments, responding to watching this movie? It can be automatically translated sometimes, however to search for it is more difficult. Hope it’s not a bother or too much to ask as right now trying to finish something as mentioned b4, so his GUARDIAN STAR reaches ppl that don’t know him. Just trying.

    As per your statement, REALLY pray he won’t have to “imagine”, such comments HAVE to be sent to him, hopefully they’ll send it or tweet him to inform through his company. He makes such an effort to help an give good feelings, he deserves to feel good be proud.

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  5. Old man – it is the name of the character. It is obvious that he is a huge actor.
    I’m not from Hungary. Bucharest is the capital of Romania. But I will look for reviews in European newspapers.
    I saw Human on the internet.

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  6. The first reviews, written immediately after the premiere, were hasty and superficial. And there were many. After a while, after the film appeared on the internet and critics could see it quietly, the tone of the reviews became more and more positive. And, I would dare to estimate, in a world that is changing, it will be more and more profound.

    I think this article, written by Cristina Seleusian, a romanian journalist, is the best review until now:
    https://bookhub.ro/kim-ki-duk-tiff17/https://www.onderhond.com/blog/human-space-time-human-review-kim-ki-duk

    translated:
    Director and screenwriter, Kim Ki-Duk has triggered various controversies in the world of moviegoers through the shocking visual / verbal mode in which they deal with recurring themes about couple relationships, sexual obsessions, prostitution, infidelity, romantic motives, presented either in isolated contexts – idealized or cut from reality, either marked by the irreversible passage of Time.
    Kim Ki-duk’s films have similar notes, the disturbing element that can represent the plot is often the pretext to interrupt the space-time coherence (3-Iron, Samaritan Girl, Bad guy, The bow, Breath, Stone, etc.). In the film presented at TIFF.17 – 2018, the action taken on a cruiser is suspended when the disorder is instituted by losing control of reason and unleashing the primary instincts, in which sex, drugs, crime finally, bring the spectator before some images that physically repel them, can not accept them, because in the morning, at a time of the narrative, everything passes into another dimension – the ship floats in the air, the water is gone, the big question arises – how long will the food reserves last?
    It is impossible not to notice the elements that transform into laitmotives – the narrative turns into a dialogue of images in which silence or body language, as the director calls it, imprints memorable scenes on the retina – the image of the beautifully and purely in love couple, the sequence father – son in which the son renounces his father, but is found in his primary instincts, the old man who does not speak, but who prints the poetic meaning of the film through the captivating images of plants that grow from the body of the dead, re-inventing a new genesis, leaving from the myth of Cain and Abel, in which a crime generates the guilt of the descendants.
    The metaphor of the child whose father as an Identity no longer matters because he will be the Next, a sign for a new beginning Is, at the end of the film, a symbol for reiterating the reasons for the story – what was the first – sexual instinct or hunger?
    The theme of power generates violence until the loss of consciousness, because, after the killing of the first Man, the Others will follow, it will be genocide, then the return to a cannibalism with mythical fragments, in which the son eats his father to live on through him.
    Maybe God wanted us to try our limits, says the commander; what limits, the politician asks; there are no limits; this exchange of replicas is constituted in a dostoevsky dialogue of essence, in which crime is justified by the wrongly assumed freedom of man. The Old Man – God giving life, but becoming himself through the act of cannibalism, food for others, leaving the created world without axiological support.
    Kim Ki-duk’s film represents, on the one hand, a postmodern fresco of the great existential questions – Is evil consubstantial to man? If God exists, why does He let evil exist in the world? Does love resist in a world led by Evil? On the other hand, at visual level there is a real dialogue of the Images in which the dreamlike elements are interwoven with the realistic, naturalistic ones – the image with the flying ship, the plants that grow from humans, the image of the child born in a germination space, the frame with the ship swallowed by vegetation until it becomes part of the Earth, the steps of the Elder in the form of the Infinite Dotted with blood.

    Other positive reviews:
    https://projectedfigures.com/2019/02/24/human-space-time-and-human-inkan-gongkan-sikan-grigo-inkan-2018/
    https://www.onderhond.com/blog/human-space-time-human-review-kim-ki-duk

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