Today I met Seo Kang-seok in 510, and it is a coincidence that two days ago, at 510, my friend and I spoke about his father, about his documentary, about his having a child, and two days later I saw his son, which is a rare "demon of my life".
Kang-suk began with a mask, without a word, and then, in his introduction, began to talk about his reading of countless books every day. I said that you danced a dance, even if you danced on 510 coffee shop rice without fear or cowardice, and he said he went to college and studied English.
When I had to go, 510 miles was crowded, people turned on the TV and said that I wanted to play my own work, but everyone pushed me, and I felt like I couldn't let my little feet out. He showed this 18-minute short film, " On the Road."
"On the Road" was a classic in the bag of American collapse, and it was also a happy runaway, in the pre-shot before the screening, when he said that he could not stand the "prison" that had been denying him, and that he had to leave after eight months, and that the film was born. So everyone was waiting for the expression of "freedom" to begin with their expectations.
It's so simple, it's not as simple as we thought it would be, it's not on the streets, it's not on the streets, it's not hard to eat, it's not even a life of shaky and panic, it's a city not far from Beijing. - The life of a group of artists in the city of Zhuzhou, who play music, dance in the streets and film, who usually play scripts. In the records, the person who was travelling directly targeted a big brother and sister who took care of him. A big face tells him how to plan for the future.
"Same as your father" is one of my deepest prayers, which predicts the end of the final documentary. - Kang took the camera back to the "prison" where he had escaped. The "guard" was listening to the song and cooking. And the "prisonmaster" patiently encouraged confidence in the former "breaker". At this moment, when the camera was suddenly taken away, Kang-suk entered the frame of television, crying loudly, shouting at the camera, "Can I still make it?" Was it howling? Was it hiss? Was it hysteria? Is it a struggle for a place that can be given to itself? What doesn't matter anymore, this time the camera is moving again. This time, the father is in the same frame, the father is hugging his son, and he wipes his tears and tears.
The myth of Oedipus is too tragic, and what happened on the way is a comedy, and I put my life in a documentary, so I'm going to shoot my father, just like Kang-suk left in 510. Ignorance is the most powerful weapon, and Kang-suk certainly did it, not in his words, but in his actions and cameras.