Spotlight on South Korean Cinema: Nowhere to Hide

I look at Lee Myung-se’s 1999 masterpiece Nowhere to Hide for part three of my Spotlight on South Korean Cinema series.


The earliest film I show when teaching S. Korean Cinema is Lee Myung-se’s proto-New Wave classic Nowhere to Hide (1999), a movie misleadingly — and tragically — marketed as a John Woo-style action extravaganza by its distributor upon its U.S. theatrical release in 2000. (The confusion engendered by the marketing undoubtedly at least partially accounts for its surprisingly low aggregate rating of 44% on Rotten Tomatoes.) I believe this film could have been more successfully pitched to the art house crowd since more accurate and fruitful points of comparison can be made between it and early Jean-Luc Godard or the playful/surreal yakuza movies of Seijun Suzuki. While Nowhere to Hide can technically be described as an “action movie,” one should hasten to add the caveat that its director is less interested in action as physical violence than in the aesthetic properties of action as movement. Lee’s thoughtfully stylized, experimental approach can perhaps best be gleaned by a quote that appeared in the film’s original press-kit: “In a Monet painting the theme is not the water lily. The water lily is just the object to paint light upon. As it floats, we see its reflection on the water, and that is what we call painterly. My intention is the same. In this film, I wanted to show the filmic. The story and the characters are not the main focus of my film. Movement is. Movement enters the other elements in this film to create kinetic action.” The man isn’t kidding: Lee studied footage of everything from animal movement to World Cup soccer matches in order to figure out how to best capture his performers in motion.


Since the story and the characters are not Lee’s focus, they won’t be mine here either. Instead, I’d like to hone in on one specific scene in the film, a celebrated sequence in which an assassin plies his trade in the rain to the strains of the Bee-Gees’ “Holiday.” (This early scene serves as the catalyst for what little plot there is — with the rest of the movie essentially boiling down to one long chase between two cops and the killer.) The scene begins with a montage of shots depicting people milling about on Inchon’s “40 Steps,” a large public staircase outside of a shopping mall. Lee employs freeze-frames at the scene’s beginning to draw viewer attention to specific details in the location (the saturated yellow of the autumn leaves on the ground and an overhead shot of a boy covering his head with a newspaper indicate the time of year and the weather) while a title informs viewers of the exact time of day (“12:10:58 P.M.”). A car pulls up to the location and the passenger-side window rolls down to reveal a sinister-looking character within: Sung-min (Ahn Sung-kee), the assassin, is wearing a trench-coat and sunglasses and smoking a cigarette while “casing” the location. Through the reflection of his glasses we see him insert a CD into the car stereo. The soft-psychedelic pop of the Bee-Gees’ “Holiday” (which, in case you didn’t know, is their greatest song ever) begins as the camera tracks alongside of the swirling leaves outside of the car. The rain starts to fall harder and passersby scatter in every direction seeking shelter. This allows Lee to introduce, with maximum effectiveness, the character of Sung-min’s “mark” — a man dressed in a suit who stands outside a doorway midway up the steps and calmly stares at the rain while pedestrians around him continue to scurry for cover.


The scene ratchets up in intensity when Sung-min exits the car and walks slowly but purposefully through the downpour, glowering under the sunglasses that he’s still wearing, as Barry Gibb’s voice plaintively wails on the soundtrack: “Millions of eyes can see / Yet why am I so blind? / When the someone else is me / It’s unkind, it’s unkind.” At the same moment that the mark opens up and raises a black umbrella, Sung-min jumps in front of him while brandishing a long knife. In alternating close-ups between the two men, Lee shows Sung-min bring down the knife in slow-motion, cutting the umbrella in half. The mark then defensively raises his hand, which Sung-min slashes with his knife in a second economical blow. Lee again shows alternating close-ups of the men — this time with blood pouring down the mark’s face as viewers realize only in hindsight that the knife’s first blow must have connected with the top of the character’s head. The mark drops the briefcase he has been holding and falls over dead. Sung-min picks up the case (the film’s MacGuffin, we never know what it contains) and beats a hasty retreat in the direction from which he came. The minions of Sung-min and his victim soon engage in a fight on the steps as the screen dramatically fades to red. We then see Sung-min’s car fleeing the scene as the brothers Gibb continue to sing that catchy melody: “Dee dee da dee dee dee . . .” The final shot in the scene is an extreme close-up of the mark’s hand dripping blood onto the rain-spattered steps. In what may be an homage to Sam Fuller’s The Big Red One, the camera pans across the character’s lifeless hand and ends on his wristwatch where the second hand is still ticking mechanically on.


This entire murder scene is less than four minutes long and yet I would argue it is more impressive as an “action set piece” than anything to have come out of Hollywood in the past quarter century. Other than describing it in detail, I am also at somewhat of a loss to explain exactly why the scene is so powerful. All I know is that, like many comparable scenes from great S. Korean movies, it is an example of pure cinema — where color, form, movement (by both the characters within the frame as well as from the camera itself), optical effects, editing and music (the minor-key song contributes to the haunting quality of the overall tone) all combine to create an experience as unforgettable as it is ineffable. Even more impressive is how Lee’s film contains several other set pieces that are almost equally effective, including a suspenseful chase through several cars on a moving passenger train and a climactic fight scene, also shot in the rain, scored to an instrumental version of “Holiday” (a scene that, incidentally, was totally ripped off by the Wachowski siblings for their third Matrix movie). If, as I speculated months ago, the golden age of South Korean cinema truly has come to an end, cinema lovers will still always have this period to look back on; much as Rick Blaine will always have Paris, so too will we always have the great Korean films of the late 1990s and early 2000s, prominently including Nowhere to Hide, the cinematic equivalent of a masterful Impressionist painting.

The full sequence described above can be seen in the YouTube clip below. But you should see the whole movie:


About michaelgloversmith

Filmmaker, author and Film Studies instructor. View all posts by michaelgloversmith

39 responses to “Spotlight on South Korean Cinema: Nowhere to Hide

  • zhuyu187

    Throughout the whole movie, the last scene was the most impressive. Differing to Hollywood movie, Asian directors are more focused on details. Through actors’ expression and action, I am able to know characters’ inside world. As a movie from 1999, the picture is very good, especially at the beginning of the rain, describing killing, the picture is very beautiful, and the appropriate soundtrack is very pleasant. But the story is attractive enough for me. Honestly, the part which interested most was when the background music. It played an important part on developing the plot as well. What I understand is that, actually the movie No Where To Hide is not only on behalf of the Ahn sung Ki’s role, the role of Choi Ji woo and most important two other characters’ police role, faced with criminals and crime, is it possible for them to hide when comes to problems? Can they escape from those things only because crimes might kill them? In the film, the police are the worst job. Yes, you can do what you what such as drinking coffee and reading newspaper during work; at the same time working hard, but why most police choose the second one? That’s what common people cannot understand.
    As far as I concerned, this movie is a really love-it-or-hate-it one. I searched the rate online both on Asian and American website. Obviously, Americans are more refer to this style of movie. On the other side, most Asians thought it was boring and pointless. However, I watched it twice in two nights without the benefit of English subtitles, instead, only Korean did help me to understand the meaning of movie better by listening to characters’ tone. Even without understandable dialogue, it’s funny, exciting, and even a bit challenging. It’s nice to see a film with artistic merit that isn’t afraid to be entertaining. The film’s unusual fight scenes are really worth seeing; at times it appears that the director just let the actors fight while the camera ran, sometimes for up to a minute at a time without any cuts. I can’t recommend it enough. I imagine being able to understand it could only be an improvement.
    At the end, I want to quote one sentence from the movie, “You don’t think this is your normal cops & robber film do you?”.

  • shao jun huang

    This film to me was dependence, or let me said it did not explain enough to the audiences. The beginning of the film was unforgettable, and it the first shot of the male protagonist Detective Woo’s personality that reflected the way he found out his target. It made the audience fall in the thought that Detective Woo was a rascal, but he was a little better one. Detective Kim looked like a justicial guy compared to Detective Woo. He complained a lot to stand by to long for waiting their target, but he was enjoy working with Detective Woo. In the entire film, Detective Woo was doing two things, chase and fight. Detective Woo started the chase with the bad guy he knew. He caught the bad guy then beat him. Got the clues, and moved to the other bad guy. Repeated the steps and finally, he found out then center, Sungmin. By looking back how Detective Woo got the clues, beside his identity, he’s a rascal. Is the film trying to say people can competitive success by means? Or the film trying to say people should work step by step to reach the goal? However, Detective Woo wasn’t bad at all, he just a hard worker.

  • Cristina Rosas

    I agree with your post how the film should have appealed to the artistic crowd since it is a very creative film in the way the director makes his shots. Each scene is different. His mission is obvious. He wanted movement to be his focus and he did an excellent job also. The audience can really get lost in the scenes in part because the are very entertaining and are very unique. If I could pick my most favorite scene in the whole film I would pick the scene where Sung-min joins his wife in the bar\restaurant and the smoke appears. This was to me an introduction to the the kind of film technique going to be used in the film. I’ve never seen anything like it. It really emphasized the characters and their roles. It brought a villainess aura and to me solidified the mind of role Sung-ri would play throughout the flm. As to the suitcase I didn’t even remember about it until you mentioned it. Now I see how it symbolizes the directors ambition to direct under the bold use of dominantly movement. He succeeded in drawing attention off the characters and more towards the appreciation of the film in its totality with its artistic beauty .

  • Mandukhai Damdinjav

    I agree and disagree that this film Nowhere to hide should appealed only to the artistic crowed. This movie should be let seen to the normal cinema viewers, and the artistic cinema viewers. Even if the tomato rating was negative, we shouldn’t just trust any ratings this simply. We shouldn’t rate, or judge movie that someone has made. Every person is different to their taste, but largely now days people check ratings, and then they watch a movie, which is big mistake. A lot people will miss a great movie like Nowhere to hide. The music, the character’s voices, and slow motion like, or comic like freezes show the hidden elements in this move, which we dont often see now days in cinemas. When it comes to police work it is very messy, and a though job. This movie also showed the work of the hidden forces behind the regular police officers we see every day. My most favorite part was the end scene as well because it shows a hint of realism in this movie. Detective Woo, who fought despite being beaten over and over again, he kept going until the police force came by. Yet another scene stroked me more than this scene was when Detective Woo visits his partner in hospital, and talks to him. Saying that they didnt even mention them, but still they caught he bad guy. It is a great movie worth watching, and I learned that many filming technic has a big influence, how it shows the theme, character, and emotions of a film.

  • aspic/maiap

    I have been wondering why Lee Myung-se decided to use the Bee Gees’ “Holiday”. I am not entirely sure but I think the song is about uncertainty in life’s direction and our perception of things. The cheery tempo with morbid lyrics seems like it coincides with the general outlook of a humorous and violent film. Although the meaning could be inconsequential. I thought it was a funny choice. I could be reading into it too much or incorrectly.
    Anyway, the scene you describe above is wonderful in its composition, movement and color. The movie had so many visually stunning sequences. I absolutely recognize the directors influence from impressionist painters. I think most good art, whether a painting or a film, should have that foundation of aesthetic power without the need for narrative. Although I believe the story is vague it is enriched with its own playful worth.There is visual humor as well as ridiculous and manipulative dialogue. All the lies and sendoffs the characters tell each other is a good tool to mimic the repetitive nature of a hunt or chase. I thought that was fascinating that Lee Myung-se watched nature documentaries and soccer matches to imitate feral and aggressive movement. Even if we have developed cities and building and police forces we all came from this place of basic survival. It still runs our lives but the motives look different in some ways.

  • Julie Vera

    I am really surprised that Rotten Tomatoes rated the movie Nowhere to Hide with such a low rating. Do they even decide to find out what was the director’s intention throughout the whole movie? I feel like the only way they would rate Nowhere to Hide with such low rating if they do not do it’s research, or evaluate. I find Lee’s way of directing the movie was incredible. Every scene of the film stands out! For example, each fighting scene was different, each character stands out, and the music was awesome. My favorite fighting scene was when detective Woo was chasing the second suspect, and it seemed like a video game. You have both of the characters reflection showing the fight, and it’s not showing them physically fighting throughout their scene. Obviously Detective Woo stands out with his weird face expressions, and his determination. Detective Woo might have lost his last fight, but he still kept trying. Lastly, you can’t go wrong with the Bee-Gees, and I don’t agree that “Holiday” is their greatest song EVER!

    One last thing is that I am never going to trust anyone’s rating. My dad was right the whole time, and I can’t judge a movie based on someone’s rating or opinion. I have to see the movie, before I start giving negative opinions about the movie.

  • Tiffany

    When I first seen Nowhere to hide I thought that it was going to be a gangster film but it actually turned out to be action kind of comedy. You have this cops chasing this guy Sung-kee who always changing the way he looks, he was like a master of disguise. Detective Kim and the rest of the police force have no consideration for anyone that’s around. They have no sense of regard for the people they are around. What was really funny to me was when they started to beat the people in interrogation they pulled out poles and all types of things. And the detective woo just never gives up. It’s like the he lives for the challenges as a cop. He has no family except the police force and doesn’t care that his partner hasn’t been home in three days. Although there was a lot of funny sense in this film you can tell that the director had a lot of fun making this film. Although it was not what I expected I really did enjoy the film.

  • Mercedes Abreu

    I wouldn’t have really noticed the artistic view of the movie until it was mentioned before the screening. I then can appreciate the impressionist view of some scenes. The little girl on the 40 steps is puzzling as she poofs out of thin air, who is she and how is she relevant? The music score is tantalizing from the opening scene – Detective Woo is somewhat hunched over, wearing suspender jeans with this goofy bad boy attitude, he like many thriller genres he fits the bill as dedicated cop chasing bad guy, but has a playful almost ignorant side to him, which keeps you liking his character all the way to the end. I have not watched any South Korean films before and this artistic side of filming is something I wouldn’t expect from a gangster comedy genre.
    The murder scene I agree is powerful. I can agree how it may be hard to describe- From the Bee Gees playing in the background to the golden yellow fall leaves on the street on this rainy day is impressive.
    I was also impressed with the way Lee filmed his closing shots to a scene, they were unexpected. In Lee’s filming his use of the wipe out and changing one scene to a crayon effect was creative and unexpected. I also enjoyed the scene where Detective Woo is fighting murder accomplice Meathead on the rooftop. It was almost cartoon like, or something from an original Batman and Robin television show. His fighting scenes reminded me of Westside Story’s choreography. The using of their shadows to film a fight scene was also epic. Since I haven’t seen many South Korean films, the ones I’ve watched were really good. It’s sad to hear that in opinion; the good years of producing great films for South Korea are over.

  • Edmund Eng

    The first thing that I want to talk about is the unique character of Detective Woo. Detective Woo is always somewhat slouched when he’s walking or running almost like a gorilla and is one of those typical cops that chase criminals for a living. Every once in awhile, Detective Woo is serious, but in a way, he’s very funny. With his reckless and carefree attitude, he shows his unique attributes as a main character and lee[s the audience interested. For me, Detective Woo was hilarious. I would normally expect cops to be all “follow the procedures,” and do things in an orderly fashion, but Detective Woo and his crew did whatever it takes to find the criminal. They didn’t care about anything except finding the criminal. I thought that this was what made “Nowhere to Hide,” a eye-catching and unique movie.
    The director, Lee Myung-se, didn’t do a very good job with the fight scenes in my opinion, but considering the year that this movie was released, I don’t mind much. I felt that the fight scenes were very choppy and had a lot of room for improvement. When I think of an action movie, the fight scenes are the key to the movie. The fight scenes in “Nowhere to Hide,” were sometimes slow and unrealistic. To me, the more realistic the fighting is, the more interesting the movie is, but that’s just my opinion. Great film overall, but just a little improvement can make a huge difference.

  • Lakita Flowers

    I agree the movie may have been better if it was more towards an artistic crowd. The visuals in the movie are very original from what I’ve seen. The fighting scenes are very different, instead of just a wide shot of both characters fighting there was a scene when all you saw was the shadows on what looks like a boat fighting. I’ve yet to see that in a movie myself. Also the scene where the detective was fighting the criminals was different. When the criminal hits the detective the detective puts his gun away and balls up his fist to show how personal the fight has become. That is also shown at the end when the detective is fighting the killer. You can see the anger on their faces and the long stares to show how upset they both are. The use of color at the beginning of the film is also very different to see in a film. Usually you see the black and white background with a pop of color to focus on that object in photography. This is another reason why I agree that this movie may have done better if it was seen by others with a more artistic mind.

  • Christopher Sanchez

    I agree that the movie should of probably been shown to the art film crowd but at the same time this also feels like a movie that gets a cult flowing. The movie is a simple chase but it has some memorable action very similar to John Woo. With very memorable scenes perfectly cut to different songs like the beginning with the opening credits, or the murder, or the final fight in the rain they all work and are very memorable. It also helps when you have an interesting main character like Detective Woo who really only has one purpose and that’s to get the job done. You get to see how the detective works and how he will stop at nothing to catch the killer. We also learn a bit about this characters life when he visits his family. It may be a short seen but it is a really good one as we see he rarely visits them but we can see he wants to see more of them. We also see his loyalty as he spends a lot with his other detectives and makes sure they are well. This is a movie with a relatively simple plot but is still able to convey more thanks to its stylized action and interesting lead. This is also a movie that knows it is a chase movie and doesn’t try to force something more complicated down your throat but it still has something in the background for people to pick up on it they wish.

  • Rocio Gonzalez

    This action movie shows people the typical chase between caps and murderers. Sungmin, the antagonist, is running away from detective Woo and his friend detective Kim who are the protagonists on this story.
    The plot shows several visuals that are fun to watch but also a little distracting for me, fall colors, slow motion movements; combined with other scenes that ended in colorful painting like pictures. Even though this movie is most of it colors, it has some scenes that are black and white, and also cartoon like.
    I agree with the director, if he was trying to show movement, he was right on track showing the fast movements of the train and combining them with the slow movements of the people’s bodies in the fighting scenes.
    We know that the story takes place in a city where Fall has taken place, we see very strong yellows, oranges, green and red leaves during the scenes. The music emphasizes what is happening on the scenes while the characters are in pursue of the murderer. The fight scenes reminded me of the matrix movie where shows the slow motion movements of the ones involved in it.
    I found difficult to follow the plot, but maybe it was because I was blown away with the different visuals. I’m still wondering what happened to the little girl that disappeared from the steps where the murder took place.

  • amni5

    I’ve gotta say, Nowhere to Hide is probably one of the most memorable action films I’ve seen, and a lot of it is due to what you describe. First, the constant motion on screen is just fun to see, it’s like there’s always something happening on screen, and it’s not just happening, but moving. Whether it’s a character running across the screen, or the camera gliding and capturing a scene, there’s always something going on.
    And I believe that Lee comparing himself to Monet is quite interesting, and something that wouldn’t have even crossed my mind if you hadn’t read the quote to us first, and I believe that hearing that quote allowed me to see the film through a different lens as we watched it. At its core, Nowhere to Hide is a film about motion and film making, and despite watching the opening scene over 6 times in class, I think that’s a great example of the film focusing on motion. Not just the way the character moves with his shoulders heavily hunched, but the way the music complements that scene so well to give it an extra bounce, and then the chair just flying from the window so that the character doesn’t have to pause, do well to show the viewer constant motion in some way or another. For me, action films end up being really immemorable because they end up being more or less the same when boiled down to their core concept; something like Nowhere to Hide, however, with its barebones plot and characters feels really novel and fresh, even if its over 15 years old now, manages to have a lot more heart than a lot of actual action films that are being produced now.

  • Doug Jones

    With this film, I felt that there were both forgettable and unforgettable moments. The things that stood out the most are probably the huge and on going fight scenes that really make them realistic and almost if they almost happened. That’s the biggest thing that comes out of this film. The realistic (realism) of this action film stands out from other action films that just focus on over the top explosions and action sequences that don’t really add anything to the film other than just the “wow” factor. With this film it seems like there was more thought and mind added to it.

    What I thought was interesting and well used was the concept of how the cops are almost or just as bad as the crook (criminals). This adds to the realistic point of view also conveying to society of how there are instances of corrupt cops and cops who step out of line and take measures to the extreme which results in controversy (police brutality). The director, Mr. Lee opens up and puts out the very numerous range of certain cop emotions throughout the film. Whether it was all the adrenaline rushes or the less intense stakeouts, and to the attention grabbing similar to anime-like fights, and all adding to cops and criminals eating ramen noodles together.

    Overall, Nowhere to Hide does provide the sense of realistic action that not other action films similar to this have gone before and it results in something interesting and attracts the audience.

  • Shield K.

    One of my favorite scene from this movie was the scene when the detectives first meet Sung-min and a chase pursues. I like how comical and entertaining it ended up being with two people (Detective Woo and Sung-min) running up and down the narrow alley during the night. You were always guessing to see if one or the other would run to each other or if Sung-min would be able to get away, which he eventually did. This scene reminded me of the cartoons from the older days where you would see a set of characters chasing each other through various doors (in a hallway) never quite catching up to the other person.

    On a more serious note, I did enjoy this film for its artistic value. It was a beautifully filmed movie. And I do agree that if it was marketed towards a more artistic audience, this movie would have done better in the US. To be marketed as an “action” movie downplayed what this movie was really about which was watching the beauty of movement and appreciating the art in it.

  • Jessica Diaz

    The film of “Nowhere to Hide” was really entertaining. The chasing between the cops and criminal was unstoppable until it got to the ending. It had a lot of chasing one another and fighting when they got to the criminal. Detective Woo and Detective Kim were funny throughtout the film. For example when they would imagine their food above their head as they were describing it. Detective Woo was a character I enjoyed because of his personality and the way he played his role. Throughout the film their were parts where they were slower paced at times and would pause at times which gave more importance to it and made it seem more dramatic. I think it was pretty cool how at times in the film certain scenes seemed like a video game or anime. The fighting scene at the end was incredible, my favorite scene in the whole film. I thought Detective Woo’s character was really brave because he was not afraid of anything, he likes taking risks and thought it was really brave of him to try and fight Sungmin, the killer, until the cops got their. The rain in the film at the end I thought made the fight scene more powerful. It was different from other films because usually in action films today the good guy wins staying standing at the end but in this film the bad guy was the one that stayed standing. Then when the cops arrived and having showed Detective Woos’s fist up in the air even though he was in the ground shows victory because he kept fighting the criminal long enough so the cops would arrest him. I thought Lee Myung captured the movement soo well since it was the main focus of the film.

  • Alex

    Whoa forget what i said in the last response and move it to this one because this is the film i was talking about, this film has been one of my favorites along with some others we have seen. Although I arrived late I was watching the film through the window in the door and even then this film captured my attention with no sound I just watched and read the characters lines on the subtitles, I added my own voices so it was entertaining. Once i got in the class the film was even better than i expected! Drama, Mystery, Chases, Humor and Justice! what more could you ask for to keep you at your seat. Once again I have to mention the repetition of the rock song, yes it fit and it was good but it was overused and kind of change what i thought about the director once i noticed how many times he used it, and to end with the song? i found it annoying but i understand that it worked for the film and why it was chosen just saying in parts where the song was repeated it could have been substituted.

  • Suanne Rayner

    Nowhere to Hide by Lee Myung-se 1999
    This film is rich in textures, first with the use of color. The beginning scene starts with the Detective Woo looking for trouble with the bad guys. Along with stop action and what looks like story boards to hold that thought, then we go to the next scene. The movie is in constant movement, with never a dull moment. He and his crew apparently had some training in Chicago, the way they use their hands and bats, to exact justice from the perpetrators. Although Woo’s partner Detective Kim is the good cop not having the stomach for the beat down.
    We then see the beginning of primary colors, yellow from the falling leaves as the bad guys stake out someone waiting for the right moment to strike. As soon as the leading bad guy, Chang Sang-min pulls out his weapon of choice a long knife, we see red, flowing through the street, after he slices his victim and steals a small case, the scene fades to red. Through the movie the good guy Det. Woo is chasing the criminal killer, always to be a few steps behind and never quite strong enough to catch the slippery mastermind. This villain is so slick, he appears to be a chameleon, blending in to his surroundings, and slithering right by Det.Woo. So we go from day to day seeing the different chances to catch the bad guy as he slips through Woo’s hands. We see that Woo thinks he is a chef, a ladies man, doesn’t visit his family around the holidays, and he likes to fight trying to make the Head brothers confess. He has to run a country mile and take a real beating/tango in order to get to the real villain.
    Finally, they are on the path to catch Chang while staking out the girlfriends apartment the rest of the crew do a slow motion detective dance. In the review, we find the director watched many films to see how movement applied to people and animals, in which our star Detective Woo walks very much like a primate, or again he could be borrowing the Chicago Thug walk.
    The film then keeps referencing the train, another thing in motion and a transition. Then we board the train to catch a killer, who again is hiding in plain sight. The crew is dressed like waitstaff on a train when finally the only cop with a conscience recognizes him and gets shanked, making Woo come after Chang with a vengeance. The last scene Woo is like a timex watch, he takes a licking and keeps on ticking, until finally they get their man. This movie is what you call Wabi Sabi perfectly imperfect. Its craftsmanship seems to be experimental while in constant motion like an action film. There are homages to the recent events of Korea, as well as the New Wave filmmakers, and Hitchcock.

  • Ryan Stillmaker

    Nowhere to Hide, first and foremost what a great scene to begin with. I was a little worried at first because I was really thinking this was going to be a black and white film. Then it shifts into color into the most important scene of the guy getting killed. and Chang Sung-min scoping out when it is time for the kill. From then on the chase is on and Detective Woo and Kim must find the killer. Detective Kim seems he really likes to start trouble with people. When he gets his first lead, he ends up at a club with a guy he knows. Detective Kim goes in the club but not Woo because a lot people know him. When the guy leaves he and Woo go on a long chase. Once Woo catches up to him he starts beating him up. Detective Woo is a guy that enjoys the thrill of being a detective and doesn’t care what happens to him. In the movie you see lots of small parts of humor in it from all the detectives beating the crap out of meathead and when he gets up you see prints on his face from getting “stepped on” to when Detective Woo and meathead are fighting at shows the shadows of them. It has that cartoonish feel but at the same time it’s an action movie trying to find Chang Sung-min. Then at the end of the movie Detective Woo and Chang Sung-min finally get their fight. Detective Woo gets beat up from Chang Sung-min but he never gives up and keeps fighting. He holds him off enough for the police to arrive and have Chang Sung-min arrested.

  • Sean McLennan

    Another well written analysis that brought up some excellent highlights from the film. I definitely agree that the focus should remain on the “pure cinema” aspect as opposed to the plot of the film, or lack thereof. This is a film that relies on character movements, music, colors, editing, etc…to sustain it’s story, rather than focusing on character emotion. This film was bizarre, oddly compelling, and humorous. It was bizarre in the sense that I had never seen so many things going on at once in a given movie scene. Lee united freeze frames with beautifully colored scenes and tacky transition tools with dramatic movements/action scenes. I use the phrase “oddly compelling” due to the unconventional nature surrounding the technical aspects of this film and how they work in a way that created a fascinating kinetic energy. This film does not adhere to many rules of “traditional” cinema and challenges you to find appreciation in perhaps uncomfortable territory (and there is definitely plenty to appreciate). The radical music was used as a tremendous tool to trigger emotion, even more so than the actual acting. There was dance music, heavy rock music, piano, percussive techno/guitar riffs, and of course, The Bee Gees. Each of these genres set the scene and made you feel a certain way throughout the entire scene. The film had an overall “live cartoon” feel to it, which had elements I found not only intriguing, but astonishing as well. Elements such as the use of C.G.I (moon moving behind building, sweat drop on to shoe, ramen soup bowl thought) and the way certain punches/kicks were built up and thrown (reminiscent of Dragon Ball-Z). I think my favorite scene was the very beginning (in black and white) where you are immediately introduced to Detective Woo. He is walking and you see an aggressive close-up of him putting his shoe up on a car to tie it, then of his face. As he is walking, a random chair flies out of a window and he picks it up (later to use to sit down in front of the goons harassing the man). The scene erupts into a full on brawl and starts to cut to new scenes using odd transitions. It was shot so crisp and introduces the viewer to just how insane Woo is. Two honorable mentions would have to be the scene in the apartment when the buzzer goes off (detectives scrambling around in slow motion) and the final stand off between Woo and Sung-Min. Detective Woo’s character was wacky, hilarious, and off the wall at times. His smile was contagious and you could never tell what was going on behind his smiling facial expression. An all around star of the film. Nowhere To Hide was a pleasure to watch and perhaps my favorite of the class thus far.

  • Nadia

    I was entertained by the comedic lines and comedic elements in the movie. It was not my favorite film to have watched but I can appreciate its beauty in the way that this movie was very thoughtful in the way it uses it’s color, movement, sounds, and after effects used by the director to show its “filmic” properties as he stated. First i wanna start off by the comedic scenes and most memorable scenes to me in this “action” film.The scene when all the detectives are at Juyons apartment and the door bell rings. All the detectives jump and scramble into the bathroom to hide. Everything about this scene is amazing. The camera goes into slow motion and all the characters have big and exaggerated movements, which would lead to to believe there would be so much noise and ruckus, yet when it cuts to Chang Sung-min opening the door, you are lead to believe it was dead silent and he didn’t know the detectives where there at all. The camera slow motion was the only thing convincing me that there was no noise in that scene. Another comedic scene that shows off the the “filmic” in this scene is the fight scene between Detective Woo and the possible suspect on the rooftop. I love the uses of the camera focus on the their foot work as they moved through the hung linen sheets as well as the use of the overhead shot because it allows you to see the view point of being in the fight as well as just a casual observed from a bird eye view. I do love the fight into dancing part one the fight sequence that then leads into the camera shot of the shadows fighting. This all gives the fight scene a very anime soft of feeling, very unrealistic but very entertaining fight sequence.I feel like the beginning of the murder that happens in the rain and the ending, where Chang Sung-min and Detective Woo are fighting in the rain is very fitting, it brings it full circle. It could be just a coincidence but its only fitting the the beginning of this chase begins in the pouring rain and that the end of the chase ends in the pouring rain.Lee’s use of the music allows for us to truly feel the greatness of the scenes. For example almost every time there was a fight scene the music would be hard, metal, anxiety inducing music to get you pumped up for the fights, which had very anime quality with the punches and freeze frames or slow motion action while jumping and catching onto the perps. I appreciated the movement that incorporated into this film and I can clearly see how this is an experimental kind of movie. The action films now could take a not of two on just how great the camera is utilized to show motion.

  • Fiona Prieto

    Nowhere to Hide – Response

    Upon watching this movie for the first time, I was surprised. Even though Mr. Smith explained in class what we were about to watch, I had never seen a movie like this before. The style the director Lee Myung-se was completely new to me. The fact that the focus of movies can be more than the characters’ lives is astounding, truly. It makes me think about something that was said in our class, about how over the many thousands of years humans have been doing art, it has changed so drastically and no one creation is “not correct” if you will and the same goes with poetry. We have come to write it in many ways, and it doesn’t even have to rhyme anymore. This movie focused on movement as a key aspect. The director studied different ways people move, but also ways that animals move, which we can see in the fight scene between Meathead and the main detective, Det. Woo, where they kind of dance around each other avoiding each other’s moves. As we discussed in class, the idea for the director was to show all movements, so not only the graceful ones, but also the awkward ones. For example, when Det. Woo visits his sister for Christmas, and he walks down the alley with her after the dinner, he doesn’t really know what to say, and that is his personality. But he also jokes around a lot and he does with his sister. The director shows the family dynamic, but he does it in a way that doesn’t take away from the subject of the film. He incorporates it.
    Mr. Smith focuses on one scene in particular, from the opening where we learn what the crime is and why the detectives are chasing this man, Sung-min. He talks about the song that is played in the background, “Holiday” by the Bee Gees, and how it creates a “haunting quality of the overall tone”. One aspect of pure cinema he lists is music and how well it fits into the scene, and hearing the song again, I realize how it is so uncharacteristic of what we think of when we think “Bee Gees music”. That in and of itself just makes the viewer realize how much thought was put into a film like this.

  • Oyundari Battulga

    Lee Myung-se through his film “Nowhere to hide” has completely shattered my narrow individualistic notion of film to be no more than for entertainment, and made me see the “filmic” of cinema. I personally do not know much about the art of painting, however, I was intrigued to read from your post, Lee’s quote on Nowhere to hide, where lee explains how he means to capture “kinetic energy” through this film to show the “filmic”, like how Monet captures light through his paintings to show the “painterly”. Through his experimental film Nowhere to hide, Lee was challenged to capture “the aesthetic properties of action as movement” as you’ve put it, and to do that, I was surprised to find that Lee pored over the study of movements ranging from “animals to soccer players”. My favorite scene from the film, was where Detective Woo is fighting with Meathead and as the two fight, the fight turns into a dance— in my opinion this scene as humorous as it is, it also perfectly depicted the “aesthetic properties of action as movement.” As you have pointed out, I did take notice of the gorilla like movement in the character of detective Woo. I found it interesting how a man could move like a gorilla and it would seem so natural.
    Lee emphasizes on the beauty and art of kinetic energy through the use of physical movements, and through the movement of a train, the fall of rain/snow, the rise of steams, the movement of a clock hand, the list goes on. I loved how he used slow motion to capture the power and force movements carry out. Especially the last fight scene in the rain between detective Woo and Sung-min, Lee purposely filmed this scene in the rain, in water and mud just to emphasize the force, power and energy brought out from movements. Lee definitely opened the viewers eyes to see what “millions of eyes can see” (movements all around) but have been “so blind” to take notice of the art and beauty. I definitely watched Nowhere to hide through an artistic lens and am glad to have witnessed “pure cinema”, a cinema in your words, “equivalent of a masterful impressionist painting”.

  • Kai Jantsankhorol

    Nowhere to Hide (1999)
    Lee Myung-se

    To me, watching a movie is like new experience. Every movies that I have seen in my life makes me feel some type of different way. Some make me feel excited, scared, and feel sad depending on the focus of the movie that the director is trying to make you feel. “Nowhere to Hide” was a very different action movie compared to other action movies I have seen. Honestly I thought this movie was going to be kind of bad at first after seeing the rating of Rotten Tomatoes but I guess I was wrong to judge the movie by other movie critics because I loved the movie so much, I thought it was a masterpiece. Just like you mentioned it, this film is an example of what pure cinema is, combining great use of color combinations, camera movements, fight scenes, freeze frames, special effects, unique transitions, location, and music to create one hell of a great experience for the audiences. For me what makes a great movie is when the director shows the down part of life. One of my favorite scene in the movie has to be the murder scene at the barbershop. The scene was very powerful to me because it shows that we humans do the wrong thing while trying to the right thing. As when detective Kim enters the barbershop, there was Hyunsu, barber grandpa, and little boy who was getting a haircut, then Kim threatens Hyunsu with his gun to capture him but Hyunsu grabs the little kid to protect himself. Suddenly the barber tries to take away the knife Hyunsu was holding and this is when detective Kim opens a fire to save everyone at the barbershop. Kim really didn’t want to shoot anybody but he had to do the wrong thing for the good and in life we sometimes experience this. In the following scene, detective Woo visits his sister and this scene was captured beautifully. It was snowing at night when Woo gets out of his sister’s house to continue do his job, and he comes to Kim to make him feel better. I loved this scene so much because it was like calm after the storm. “Nowhere to Hide” kept me excited for the most part, and overall one of very memorable and great example of pure cinema.

  • Romeo Suarez

    This film was absolutely amazing, mainly through its expression of pure cinema and the focus on movement. Even the opening scene has many elements that show how color and sound can be just as, or even more important than story. We get the black and white beginning, with detective Woo applying what he learned about movement in animals (his gorilla like qualities of being intimidating and having a strong, already beat-up appearance with his eyebrow bandage and cold stares). He is unfazed by the chair breaking the window and ties his shoe on a fancy car, constantly looking around for someone or something. The music has a constant beat with claps flowing alongside detective Woo’s movements, similar to the opening for “Cleo from 5 to 7”, and becomes silent as he slams the chair down, confronting the gangsters. Eventually, this all leads into the blast of blood pumping music as detective Woo begins to fight a group of men, again showing he is unafraid and willing to take an unfair fight, with a slow motion shot of his back-up walking towards the viewer. We get that wonderful pan from right to left as we freeze frame on each individual character as they deliver a blow to whoever their fighting, and while frozen, the visuals become almost comic book like with a flood of blue and purple, with a gritty texture. There is no explanation, little dialogue other than Woo provoking the gangsters in small talk, just loud, fast paced music, sudden changes in color and texture, and lots of movement from the fight. With the panning of the camera we see everything and how close they are to each other, not just alternating quick one on one battles with close-ups of the characters in different areas. It all takes place inside, in view of everyone. This scene hypes up the viewer, having them watch a true physical battle out of context, and then leads them into the gentle, poetic murder scene explained in the review. This constantly happens throughout the film, without the use of excessive dialogue or story explanation. The viewer continues to be entertained, because the focus on pure cinema is stimulating and unpredictable.

  • Anais Deac

    The film Nowhere to Hide, “can technically be described as an ‘action movie.’” However, by the way that this film was “stylized” and using the “experimental approach,” it easy to say that this film is very unique. Mr. Lee used freeze frames, colors, and images, almost like a cartoon or comic book. Like at the very beginning of the film, we see Detective Woo and Kim fighting some yakuza in a somewhat slow motion. Mr. Lee used freeze frame while adding a blue, purple, and red colors to each shot that he wanted to freeze. He does something similar when the detectives are on the lookout for Fishhead. Detective Kim only walks up to the building and the next thing you see are pictures slides of Fishhead having a good time in with some girls. You don’t even see what’s happened, but you can guess. One picture says one thousand words. Mr. Lee also had music that went well with scenes that had action or during serious moments of the film. As I watched Nowhere To Hide, it made me think of the three stooges. A specific scene that made me think this way was when Detective Woo came up to Fishhead and then he started to run away. Detective Woo chased Fishhead and when Detective Woo catches him, he beats him up. I do agree that this film was a “pure cinema — where color, form, movement (by both the characters within the frame as well as from the camera itself), optical effects, editing and music (the minor-key song contributes to the haunting quality of the overall tone) all combine to create an experience as unforgettable as it is ineffable.” Watching Nowhere To Hide has given me something new to think about while watching South Korean films now.

  • Tomasz Bereszynski

    The movie “Nowhere to Hide” was a movie like I never seen before. This movie should have its own genre. The movie had a lot of action but it also had mystery. Throughout the movie, cops were chasing criminals in order to solve a murder. Every person they came into contact with were suspects but they were unable to prove guilt or responsibility for the murder. This film reminded me of an anime movie because Lee Myung-se used a lot of slow motion in the film. When a person was struck, Lee-Myung-se used slow motion to emphasize the action. There was also a part in the film where Lee-Myung-se used shadows that reminded me of anime film.
    The article talked about a painting of a lily and how it is blurry. The painting reflects the movie by Lee Myung-se. Lee Myung-se focused his attention on the movements of the characters rather than focusing on the plot. The plot is like the blurriness of the painting. The viewer realizes it’s about a murder but that’s about it. This is exactly what Lee Myung wanted viewers to see.
    The film “Nowhere to Hide” was an entertaining movie but I did not really like it. I understand that Lee Myung-se attention was on the movement of the characters and he nailed it. I would have enjoyed the movie if the film had a more structured plot. The movie seemed to be on replay. The cops would catch a suspect then let him go and so on. I did enjoy all the action in the movie and how Lee Myung-se’s movie reminded me of an anime.

  • Ayush Syal

    “Nowhere to Hide” by Lee Myung-Se was a pure cinema. I was entertained throughout the whole movie; the characters in the movie were fantastic. This movie was not much focused in plot but was visually unique by using the unusual angles; the only plot was the hunt for the killer. Det. Woo and Kim were the two main characters who were on the chase to find the killer. Det. Woo is not too smart, he uses physicality throughout all the chase; he doesn’t use psychological thoughts in chases. The director uses genre as a framework in order to use form in an expressive way; he was interested in movements, the awkwardness, and clumsiness. Like when Woo and Meathead were fighting and strangling each others hands with the music playing made it seem so different from fighting because of the music usage. Kim is usually the calm one who uses psychological thoughts more than physicality but when they were in the barber shop as Woo tries to calm Kim down showed the exchanged characteristic of Woo with Kim. I noticed that this movie had some scenes kind of similar to JSI, like when Woo throws snowballs at Kim and wouldn’t stop which shows us grown men acting like kids. There is so much action in the movie that I feel like anything could happen anytime just like in the French New Wave. The painting reflects the movie by Lee Myung-Se, focusing on movement of the characters action rather than the plot. The movie started off with fall season, then Christmas(snowball fights), and then ends with spring season; it shows the changing of the season throughout the movie. This movie reminded me of an anime movie with the use of slow-mo scenes. I enjoyed the movie and this movie really made me want to check out some other South Korean movies.

  • Joseph Lee

    This article is impressive to me. I will not know Sung-min brandished the knife twice if I did not read this. Also, it was a very interesting song as in this article, which is “which, in case you didn’t know, is their greatest song ever.” Every time I listen the song “Holiday,” I remember the scene when ginkgo leaves were scattered in front of many stairs. The scene of the appearance of the characters and the police coming into the house of Kim Ju-Yeon was very impressive. Jang Sung-min’s acting villain role was great, Jung-hoon’s police role, and detective Kim, who showed real acting, was also good. The most memorable line from the movie was when the leader of the detective was saying to Meathead that “You guys know how to hurt people. But not the other way around. You have to get hurt to know what it feels like.” In addition, I think the reason why “Nowhere to Hide” is interesting because the movie is like a cartoon. I think scenes that were seen in comic books and animations are reproduced in due diligence, but I think that it gave me more time to look at the movie more intimately than to feel that it is strange or uncomfortable. When the waltz music flowed out from the rooftop duel scene of detective-Wu and Meathead, and the shadow action scene immediately followed, I was able to escape from stereotypes of the action movie I had seen so far. The film shows how hard the police work in Korea, and it is a movie that I enjoyed watching the contents.

  • Meagan McCarthy

    To say the least, I was confused the ENTIRE movie. That is when I started to pick up that Lee Myung-se was not trying to get plot across his audience, but he was aiming for color, form, and movement. It is seen that Lee is focused on the details. I also want to address that beauty of the film – it is a kind of film that looks almost like a cartoon, possibly like it is anime. However, it is not cartoon characters, but real actors in the flesh performing anime-like moves. Moreover, in the film to be a policemen was the worst job, and this is easily seen in Nowhere to Hide because the cops come off as if they are villains or evil.

    After reading several reviews about what I had just seen in this movie, I have developed a higher respect after convincing myself to stop looking for a plot and to simply just look at the colors, film shots, and music that contribute to the movie. I realized you do not even need to know what the characters are saying to understand that this film is funny and exciting, hence the scene where the Bee-Gee’s are playing.

    Lastly, I feel for these actors because they probably had to re-do many scenes and it was, most likely, time consuming and had to be practiced. The way the moves are in the movie, they needed to be practiced because they were timed so perfectly, which is part of the art of the movie. The background music, the use of color (such as the scene where it opens to a black and white sequence and stops at every hit), and the movements the actors create is different, but in a good way.

  • Joseph Vettom

    Nowhere to Hide, directed by Lee Myung, as stated in the article is an example of “pure cinema.” The movie specifically and artistically focused on the visual element of cinema to a degree that I had never seen before. The movie in its entirety was great, but the visuals was where Lee Myung demonstrated his talent and passion. Every frame and transition are interesting and creative. The filming techniques he used made the story an afterthought because of how interesting the images on the screen were presented. The story itself is simple but was deepened by what Lee Myung put on the screen; he deepened the understanding of the characters and the setting without dialogue, but rather specific shots that make the audience infer who, where, and what the movie is about. The movie began in black and white with some accented colors but gave an understanding that this seen happened in the past and exemplified the personalities of two main characters. His style of using visual methods like that throughout the movie forced the audience to take in as much of as they can to understand and enjoy Nowhere to Hide.
    The style of Nowhere to Hide keeps the audience entertained. The style of Nowhere to Hide reminded me of anime and comic books because of the exaggerated action, at times cheesy dialogue, and comedy throughout the movie. It felt as though Lee Myung made a live-action cartoon with all the stylized surreal moments, but he also made each shot look like it was meticulously drawn like it was for a comic book. In the article, it was mentioned that this movie was not critically acclaimed and should have been targeted toward art house crowd, but I believe that this is a movie for anyone who wants an authentic comic book movie. Comic books are still images and this movie is about movement, but when you read panels of a comic book the transition and actions are imagined, and the focus is not the word bubbles but the entire image. Lee Myung created beautiful mages and strung them together in way that visually entertaining and technically mesmerizing.

  • Shannon McHugh

    The first thing that I want to talk about is the unique character of Detective Woo. Detective Woo is always somewhat slouched when he’s walking or running almost like a gorilla and is one of those typical cops that chase criminals for a living. Every once in awhile, Detective Woo is serious, but in a way, he’s very funny. With his reckless and carefree attitude, he shows his unique attributes as a main character and lee[s the audience interested. For me, Detective Woo was hilarious. I would normally expect cops to be all “follow the procedures,” and do things in an orderly fashion, but Detective Woo and his crew did whatever it takes to find the criminal. They didn’t care about anything except finding the criminal. I thought that this was what made “Nowhere to Hide,” a eye-catching and unique movie.
    The director, Lee Myung-se, didn’t do a very good job with the fight scenes in my opinion, but considering the year that this movie was released, I don’t mind much. I felt that the fight scenes were very choppy and had a lot of room for improvement. When I think of an action movie, the fight scenes are the key to the movie. The fight scenes in “Nowhere to Hide,” were sometimes slow and unrealistic. To me, the more realistic the fighting is, the more interesting the movie is, but that’s just my opinion. Great film overall, but just a little improvement can make a huge difference.

  • Ghina

    “Nowhere to Hide” is so fun to watch because of the pure cinema. I loved the colors, music, and movements and which is really interesting.. One of my favorite song in the movie is Disco song “Holiday” The movie is about two detectives that have a really different personalities.
    Detective Woo ,is really obsessed of following and going for the bad guys no matter what, and he does things without really thinking. Detective Kim is smart and have moral conscious and very calm unlike D. Woo, but in fact that both D. Woo, and D.Kim is like two person in one. However, at the end I felt that both have exchanged personalities, for example at the barber shop, when D. Kim killed without thinking and D. Woo was calm. I loved the ending their friendship reminded me of JSA and how their honest friendship.

  • Osvaldo S

    “Nowhere to Hide”, By Lee Myung-se was like no other film I have ever seen. The film has its own type of genre specific to this movie, Lee Myung-se combined the typical action style that you would see in your run of the mill cop vs. bad guy movie. But what really separates this film from the normal action films is how Lee Myung-se incorporated a somewhat of a mystery theme to it also which is very unique. In the article it stated that this film was never critically acclaimed and should have been targeted to more of a art style audience, which I could see because this film reminded me me of anime styled films with the use of black in white color and the use of fast cut frame seen in most of the action scenes like the beginning where Chang Sung-min is seen murdering a man at the 40 stairs.
    Det. Woo who can be seen as the main character has a very unique personally, he is seen as a responsible person because he is a detective but throughout the scenes that he has more of a child like personality. Det. Kim is seen like the calmer detective with a more friendly approach to thinks where Det. Woo is violent and has somewhat of a short temper as scene where he gets in a fight with Fish-head when he should of just taken care of the situation better with a more professional approach without necessary violence. I very much enjoyed this film with its unique genre and can’t wait to see more films y Lee Myung-se.

  • Leila Music

    Nowhere to Hide (1999) a Lee Myung film that focused do much on the idea of movement. The film was action based that had many fight scenes which showed mkvement in a new perspective. Motion and color was a big factor in the film. The film was almost like a cartoony anime film, with many bold colors and soynds and the motion was very unique..tgeir wlukd be slow motion and stra ge motions were it would stop and go and stop and go. Lee’s action film was not all serious though. It was very comedic in many scenes. The characters personalities were so interesti g and enjoyable to watch and laugh at. I noticed that the detective almost had a sort of gorilla walk, sluggish and his face woykd make the face of an angry ape, to my surprise after ready g this article and what you have said in class, about how Lee focused on movement he even watched how animals moved. So maybe its true that detective woo took on the movement of an ale of some kind! The movie is definitely looked at as an experiement lee wanted to test out. And it was a damn good movie because of the fast paced, comedy, colors, of the film. And you were right, it does almost remind me of mad max haha.

  • Graeme

    I enjoyed this movie overall, but I found the purely filmic quality to be somewhat off putting – at least at first. I didn’t take as much issue with the lack of detail in the story but with how the plot seemed to meander to me. I would have preferred the story to be direct to more easily facilitate the action and movement. This criticism is moot however, because as we said in class, you shouldn’t criticize a piece of art for what it isn’t.
    The entire movie is about the chase. A detective chasing after a criminal. This ranges from finding clues and following a trail to actually running after people (often the latter). The focus on movement prevails through the entire movie making up the entirety of the plot and most of the scenes. More often than not there is movement in the frame whether it be running, fighting, or even dancing.
    Personally my favorite scene was the fight at the beginning with the freeze frames. The frantic fighting in black and white interspersed with stylized color freeze frames timed to the beat powerfully extenuate whatever motion is going on at that moment. Likewise as the film can be compared to a painting as a pure expression of the art form, these frames themselves show a painterly quality.

  • Sharon Kim

    “Nowhere to Hide” was a very interesting movie. At first I was quite confused on what was going on because it started off with a crime scene. and there seemed to be cuts. The film did not have much dialogue but rather seemed more like long series of pictures that continued on. As this article states, the movie puts movement as the top priority. By not really having quite a strong plot line, it emphasizes the actual picture on screen.
    However, the movie did have some plot. The most prominent part – of what I remember – may even be when Detective Kim shoots a person when he used to be the one who would stop Detective Woo from being too rough on the criminals. It seemed to portray that they were switching roles from one another.
    This movie also quite reminded me of the French New Wave films. Though they are indeed different, just as Cleo 5 to 7 was all about the pictures (that whenever you stop the film, it would look like a photograph), this film also is all about the motion. Every angle and every movement was quite well choreographed and set. Especially the angle from the train when all you see is Detective Kim standing in front Sung-Min for a split second and suddenly it hits you that Detective Kim has been stabbed.
    It was a good movie but it was definitely a harder one to watch since there was very little plot. Regardless, just watching the film, maybe even without the words, would still make it a well made film!

  • Isaac Choo

    “Nowhere to Hide”, directed by Lee Myung-Se, was a movie that showed me brand new genre call “Pure Action”. When Hollywood movies put basic structure of action (Hero saves the world and lived happily forever), “Nowhere to Hide” was a movie that blew me away for breaking the basic structure of action movies in my life. The main character Woo Even though he is the main character, he is not powerful nor smart like other Hollywood action main character. It’s surprising that Rotten tomato score was so low. I think reason for that is, they scored the movie by story and character builds. Which I believed it was not fair for this movie. This movie had amazing color and with scene with unique picture. Also their action scenes were very unique and individual style of action. I believe the score of this film should be re-calculated.

  • Julia Graehling

    I am shocked. I have never seen a movie like this, granted I have never been into watching foreign movies. But I am in love with all the movies we have watched so far. I had to pay extra attention to this to make sure I was understanding everything. Your articles always help me understand these movies and I wanted to say thank you for making everything so clear to me.
    There is not plot, the plot, the story, the characters are not the main focus. The main focus is on movement, colors, textures,music, and editing. This film was intriguing and strange to me.
    Definitely not used to this kind of style in film. Movement was a key element in this film and it was structured around it. I loved how at some points in the film it slowed down the pace and sometimes paused to show people what was really important. It made the movie seem more dramatic
    This whole film is about a chase between a detective and a criminal. From following trails and different clues. The movement would include walking, running, fighting, or dancing. Others would say this movie can be compared to art form because of the amount of color and how editing made it look. The fighting in black and white caught my attention because switching between color and black and white has always looked fascinating in my opinion. I was confused about this movie until I read your article and now I fully understand. During the whole movie I kept questioning what the plot was supposed to be. Really wish I read your article before watching this film!
    The cops in this came off as the bad guys/villains. Which is why it was the worst job to have. This film had a comedy side to it during the chase and just made the film so much better.
    Lee was focused on the details in this film. The details in the background instead of the main characters which I have never seen before. It definitely threw me off because at first I thought this was anime in between a cartoon. I was shocked when I read it was real actors performing anime moves.That must have taken a lot of time, rehearsal, and practice. Bravo to them and this movie

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