Special Features:
- Trailer
- Director's Diary
- Cast & Staff
- E.P.K
- Synopsis
Director Ji-Sang Lee has been one of those new generation directors whose style and cinematographic grammar are under the spotlight. Although receiving contrasting reviews from critics, he is regarded by many as one who embarks on the new territory of Korean film.
Its explicit nature makes it difficult to watch, yet we are able to see sex as nothing more than a physical act. Whether the audience witness true enlightenment from this is open to their own interpretation.
Ji-Sang Lee was born in 1956 and studied at Experiment Film Institute. His first short film is 'For Rosa'(1993) and another short film 'De-Pure Land'(1996) was shown at the 1st Pusan International Film Festival.
He made his directorial debut with 'Yellow Flower'.
"[Like many other independent films, Ji-Sang Lee's early works], 'Yellow Flower' and 'Fly Low' were produced on 16mm film. Even though they are two different characteristic films, they share a common idea: young people's wanderings and isolation.
However, while the first film is very abstract and has strange changes, the latter film is a graceful piece, describing two people's relationship at a deserted school"
Explict, But Not Indecent Movie
Filmed in 1997 and finished in 1998, Yellow Flower could not be shown to the public due to Motion Picture Rating Committee's decision to postpone its rating twice since its completion. In August 29, 2002, the jucicial court found the committee's rating postponements unconstitutional. The movie was give a 18+ rating, suitable for general audiences, exactly one year later.
Yellow Flower contains elements of cool detachment and ridicule toward modern society. A thirty-year old, at a time when one can glimpse the oncoming sunset of life, and a nineteen-year old who only wants to live until the twentieth birthday. The story consists of different sections interlaced with each other. The subject of the story is Sex; however, there is a poignancy that transcends such simple pleasures. In place of sleaze and obcenity, a certain level of sadness is deeply imbedded in the sex scene.
There is no contrived sophistication or sterile cleanliness in Yellow Flower. Moive audiences now are overexposed to picutures that engage in artificial sophistication and antisepticaly clean visuals. Yellow Flower avoids synthetic maneuvers and pursues a rough, modernized ideal. Instead of artificial content, the performance reveals everything as they are. Even then, this work comes alive with notable individuality.
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