![]() ![]() He also starred in the noir thriller Lucky Number Slevin (2006). He went on to became an early-aughts heartthrob with 1999's The Virgin Suicides, 2001 war dramas Black Hawk Down and Pearl Harbor, the 2002 romantic comedy 40 Days and 40 Nights, and the buddy comedy Hollywood Homicide (2003), which is mostly forgotten, though it features some inspired comic work between Hartnett and Harrison Ford. Josh Hartnett debuted on the big screen in 1998 with the one-two punch of Halloween H20 and The Faculty. Role: David, Cliff's partner on the space vessel Recently, Blanchett (in another Oscar-contending performance) played the titular older lover of Rooney Mara in Carol (2005), the ultimate femme fatale in Guillermo del Toro's stunning noir Nightmare Alley (2021), a feisty conservative news reporter in Don't Look Up (2021), a prankish monkey in del Toro's Pinocchio (2022), and earned her most recent Oscar nom as the namesake composer of Todd Field's Tár.Įpisode: "Beyond the Sea" (season 6, episode 3) She entered the blockbuster game as Elven Queen Galadriel in the Lord of the Rings trilogy and the subsequent Hobbit films, and secured another Oscar nomination for Notes on a Scandal (2007). She rose to international prominence with her roles in 1998's Elizabeth (for which she earned her first Oscar nomination, followed by another for 2007's Elizabeth: The Golden Age) and The Talented Mr. We'll just let you watch it for yourself to figure out what's actually afoot…Ĭate Blanchett has been nominated for eight Oscars and has won two (for 2004's The Aviator and 2013's Blue Jasmine) in a career that has spanned nearly 35 years. Role: Blanchett's image appears as a version of Joan within the show within the show within the episode - though it may not be Blanchett at all. Text copyright © 2022 Karen Han and Little White Lies.Episode: "Joan Is Awful" (season 6, episode 1) “That’s why we shot that last shot where the failed detective looks into the camera, so that he’s looking out at the audience and at the killer in the theater, and the killer is looking back at him.”Įxcerpt from the new book “Bong Joon Ho: Dissident Cinema” by Karen Han published by Abrams. “When we were shooting the movie, we talked about how, when the movie comes out, the criminal will watch the movie in theaters,” Bong has said, of that final image. A roil of emotions is visible on Doo-man’s face - years of grief in a single expression. Unlike the previous close-ups, which always had a subject on the other side of the lens, this gaze is focused directly on the viewer. When he turns to stare into the camera, the look lands like a sucker punch. kind of plain.” “In what way?”įor a moment, Doo-man looks out onto the fields, his features trembling. He has a new career, new children, a new existence - but the damage caused by the murders, the regret of having never caught the killer, is a wound that will never completely heal. ![]() But as soon as he realizes that the little girl is talking about the killer, a whirlwind of memories and emotions seems to come flooding back, and a long beat passes, as though he were contemplating whether or not it’s worth re-excavating all of that pain and sorrow. As we’ve seen just minutes previously, Doo-man leads a completely different life now, living in an apartment with his wife, son, and daughter, and his “shaman’s eyes” are now only used to tell whether or not his son is lying when he says he hasn’t been playing computer games all night. As he looks into the ditch where the first body was found, a young girl asks him what he’s doing, saying that another man had done the same thing not long ago, and had told her that he’d done something there in the past. In an epilogue set in 2003, Doo-man, now a salesman, finds himself back at the first crime scene. These sorts of close-ups dominate the film, and comprise its final scene, too. (In fact, Bong wrote the part of Doo-man with Song in mind: “He has a face like people from that era.”) As with all of Doo-man’s eye-to-eye soul searches, the moment in which he tries to divine Hyeon-gyu’s innocence is captured in straight-on shots of Song’s and Park’s faces. Watching “Memories of Murder,” it’s impossible to imagine anyone else in Song’s shoes. ![]()
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