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  1. Peppermint Candy

    Peppermint Candy

    2000 · Drama · 2h 10m

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  1. Peppermint Candy (Korean: 박하사탕; RR: Bakha Satang) is a 1999 South Korean drama film by Lee Chang-dong, his second.The film opens with the implied suicide of the protagonist and uses reverse chronology to depict some of the key events of the past 20 years of his life that led to this point.

  2. Jan 1, 2000 · Peppermint Candy: Directed by Lee Chang-dong. With Sol Kyung-gu, Moon So-ri, Kim Yeo-jin, Se-beom Park. Following a man's suicide, time traverses back to reveal six chapters of his life on why he committed suicide.

    • (10K)
    • Drama
    • Lee Chang-dong
    • 2000-01-01
  3. Peppermint Candy (2000) became the second feature-length film of Lee Chang-dong. A piercing tragedy in Peppermint Candy starts with the protagonist Yong-ho (portrayed by Sol Kyung-gu) committing ...

    • (110)
    • Sul Kyung-Gu
    • Lee Chang-Dong
    • Drama
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  5. Some critics around the time of Peppermint Candy’s release compared the film to Christopher Nolan’s Memento, but Peppermint Candy actually came out a year earlier than Memento; 1999 vs 2000. Peppermint Candy never uses its unorthodox scene structuring as a gimmick or as any kind of stylistic flourish to distract from the drama, quite the ...

  6. Synopsis. Chapter 1 (Outing) It is spring of 1999. Kim Young Ho stumbles upon a picnic spot at Garibong Peak, where his old friends are enjoying a sort of a reunion. They are dancing and singing, while Young Ho looks dishevelled in his grey suit. When the group recognises Young Ho and invites him to join them, he sings "Na Eoddeokhae" (What Can ...

  7. “Striking, poignant, sad, and uncompromising as ever, PEPPERMINT CANDY is a film that stays with you.” Andrew Heskins, EasternKicks.com “A compelling and powerful work and necessary to any introduction to the Korean New Wave.” - Rahul Hamid, Senses of Cinema

  8. Jun 18, 2012 · Peppermint Candy is a difficult film due to the graphic emotional and physical violence that it unflinchingly presents. Lee’s camera unerringly finds the ugliest residue of industrial life – service roads, parking lots, jammed commercial streets, forgotten patches of crabgrass in the empty lots of cities that grew too fast.

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