The cinema | Television | THE COUNTRY

The cinema | Television | THE COUNTRY

Mix a third of North Korean dictator, a third of love for the movies and a third of irony, shake well and add a few drops of tenderness and the result is a curious and great cocktail: Kim Kong (Sundance), a French series that demonstrates the importance of the script as well as the infrequent success of not lengthening the plot more than necessary: ​​three chapters are enough to tell what you want to tell.

Although the series does not mention the Asian country in which the action takes place, no one doubts that it is North Korea. His despotic president Kim Jong-un, the Commander in fiction, wants to end the United States but first needs to publicize his desire. Write a script for a six-year-old boy in which Kim Kong will join his force to that of the brave peasants to end the imperialist monster. His film industry is a disaster so he decides to kidnap a brilliant French filmmaker, author of big blockbusters, to direct the film or die.

Kim Kong It is, basically, a declaration of love of cinema. References to directors of the nouvelle vague Are frequent. The protagonist lives in a hotel, what Godard did, and the quotes of François Truffaut are constant, without neglecting, naturally, the successful cinema because after all it is the one that allows the continuity of the industry. In fact the protagonist of the series could be the alter ego of Luc Besson, producer, scriptwriter and director accustomed to the big blockbusters. Our fictional director yearns to direct an "author" movie. Finally he gets it. On the screen appears a piece of information: it was seen by 104 spectators.

A fiction soberly narrated and soberly interpreted that, once again, surpasses reality: in 1977 the most important South Korean filmmaker, Shin Shang-ok and his wife, actress Choi Eun-hee, were kidnapped by order of Kim Jong-il , father of the current dictator and great cinephile, to promote the national film industry.


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