Memories of Murder ★★★★½

A scruffy picture of change caught in a flux of urgency - transformation and mutation - that strikes down like a bolt of lightning and ultimately weighs more on the collective psyche than on the murdering case. A barefoot run through heavy rain, as thick fog clung to the earth, without destination. A swim through the quagmire with no hope to get out, only to realize the way out is to sink. Bong Joon-ho’s trademarks are all there, swiftly moving on the blurred line between farce and tragedy by means of switching perspectives from the portrayal of systematic ineptitude with a touch of comedic spoof to a tumultuous uproar of personal failure and pain. Only Bong could do this perfect transition with such ease, mainly because he understands what we, as human, are capable of and how we can always shift into something we could never foresee. The Park Doo-man and Seo Tae-yoon at the end are not the same as the Park Doo-man and Seo Tae-yoon we once knew at the beginning. They have changed, for better or worse, because they have finally caught up with their identities. What has made a man, who believes in logic and facts like detective Seo, utter in frustration while holding the DNA test certificate, “this document is a lie. I don’t need it”? The confrontation against the murderer is still going on strong, the battle has never ended like a thousand-yard stare into the open abyss – You are seeing this aren’t you?

P.S. Bong surely does love peaches

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