Decision to Leave has been on my radar for a few weeks now, having stumbled across it on the Internet under one of South Korea's most recent feature releases, but only the other day did I discover that the talent behind the film was none other than Park Chan-wook, one of the earliest directors going into international cinema that I viewed. I remember staying at a relative's house for a few weeks to look after a cat, surrounded by a very large number of DVDs, bored of the familiar names and titles I had seen plenty of times throughout the years, I looked for something different. I can't recall whether it was Oldboy or Sympathy for Mr. Vengeance that I viewed first, but I do remember his films after being very influential to me, as I began to explore the world of Asian cinema.
It came as a surprise to see his name appear again, after what feels like quite a hiatus from the world of filmmaking. With only a few titles being released over the years, some gaining some traction, some fading into obscurity, not quite catching the same recognition as his titles from the earlier 2000s did. Decision to Leave feels much more mature in a way, taking on a very different approach to South Korean cinema, taking advantage of the typical drama tropes we often find from the country's creations, but taking a personal look into the human side that influences the crime; the suffering, the manipulation, the ways in which humans question their reality in pursuit of the idea that they deserve and could have something greater. To which lengths do we go to to achieve happiness?
That is what Decision to Leave looks into, still very much grouped within the country's familiarity with detective stories and crime. Still very much engaging despite this, and its rather long runtime that pulls you along the idea of infidelity.
Decision to Leave
Decision to Leave follows the investigation of a man's death having fallen while climbing a mountain. At a glance an appearing accident, though with a deeper look a series of events unfolding that reveal malicious intent. Our narrative follows the detective investigating the death, only to begin to fall in love with the victim's widow. Pushing beyond this into the realisation that our detective is falling in love with her; though she is the main suspect in this case as the investigation continues and new suspicions arise. But at which lengths is our detective willing to go with this newfound emotion for the widow? At which point is justice contorted and left behind in favour of emotion?
Though this question of infidelity within the narrative is far from the film's greatest achievement. I found myself in awe at how creative the cinematography was, how it utilised various perspectives and focal lengths with anamorphic lenses to tell the story from different characters. A view from the dead detailing a very muted and flat colour, with a fish eye lens that displays the world bent around similar to that of their eyeballs. Going as far as even giving us the perspective of a dead fish in the market; I sat there and considered why so few had considered this before? How had such an impactful idea regarding directing been so rarely utilised? To place the audience into the perspective of objects that surround the scene and characters. Showcasing their world from the view that isn't theirs.
Plenty of movement from the camera while also showing very still, static shots that looked deeper into the characters and their lives. Often within some backdrop of relative luxury that places them above the regular person. Showing a nature of sophistication but complexity. These anamorphic lenses provide a very wide view of the environments, while making the objects very soft. It's an incredibly beautiful film that I found myself capitvated by more for the visuals than the story, though not for any negative reasons regarding the story.
This narrative exploring the complexities of relationships, detailign the ways in which people fall in love and suffer through it. The idea of who benefits the most from a relationship. The give-and-take idea that results in one person getting more from it. We see the drama that ensues from a detective that is sworn to secrecy, in the pursuit of a person he cannot have. The counterpart in this being a suspect in a murder case, often enough giving the impression of intentional torment through her seducation and misdirection. Is she pulling him along? Is our detective being manipulated and seduced in attempt to string him along and void him of any ability at discovering the truth?
Beautiful Cinematography
I already mentioned my love for the cinematography and directing, particularly due to the anamorphic lenses. But the directing and cinematography extends beyond beautiful visuals and into the idea of loneliness and the chasing of emotion. In many scenes we see the camera cling to our detective as it follows him throughout the scene, his despration and troubled emotion evident. We see a great use of depth within these scenes as characters are singled out by their presence in the foreground while actions take place in the background. The wide anamorphic lens just adding to the creation of depth and wideness, even the isolation that can be felt. These performances feel flat, but intentionally flat to convey that depth, to reveal an emotion that is mostly kept hidden from all else, but visible to us.
The tons of the film often warm, and very gradient to add to this changing of emotion and the flatness of the emotions that are present. There's a very green and blue tint to many of the scenes which make much of the film feel cold and alone. Though with a nice balance of the warmer orange tones present in some of the night and interior shots. Visually from the colour direction alone it's incredibly aesthetically pleasing, and definitely in its own way seduces you into this odd comfort. Matching the idea of seduction and bending people to their will.
To match this we see a very clean, beautiful South Korea. One incredibly modern and rich in life. Promoting the idea of luxury and innocence. That sophistication may be void of such complexities and evil, only to display that realisation that corruption can be found in all places. Even from within.
I can definitely recommend Decision to Leave. This film felt different to the many modern releases as of late. Very creative, very beautiful, and with some ideas rarely perceived when it comes to the idea of romance. Park Chan-wook returns with his greatest work yet, and to say that is really something in comparison to his earlier works. If you were not a fan now, you should be. Perhaps even check out those works too and compare the growth. I think you'll be surprised regardless.
