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Beat might then be a fully re-watchable film like Lee Myung-se's masterpiece on movement Nowhere To Hide and his equally delightful meditation on motion Duelist.

Hoping for something beyond pugilism for her son, Min's mom (prominent South Korean marijuana legalization advocate Kim Bu-seon, To You, From Me, Monster) moves Min to another school, severing these best of buddies.And the efforts to affect coolness on to the characters can be over-extended at times, such as the time spent lingering on the first lighting of cigarettes between Min (Jung Woo-sung, A Moment To Remember, Cold Eyes) and Tae-soo (Yu Oh-Seong, Friend, Champion) that makes this post-fight masculine moment of shared lung cancer almost seem post-coitus.But this was 1997, only a year after things really started to get going for South Korean Cinema, that liminal area between the Korean New Wave and New Korean Cinema. In addition, there is so much energy palpitating through this film, and scenes where the choreography and cinematography choices work, such as the fight scenes which pulsate with vibrancy.These are some reviews of the features released in 1997 that have generated the most discussion and interest among film critics and/or the general public. The year 1997 saw the debut of a major filmmaking talent in Lee Chang-dong, a novelist who first became involved in the film industry as co-writer of two films by Park Kwang-su, To the Starry Island (1993) and A Single Spark (1996).

These works deal with various aspects of 20th-century Korean history, but Lee's debut film Green Fish is a very contemporary story set in the rapidly-developing outskirts of Seoul.

Whan (the debut film for Im Chang-jung, Sex Is Zero 1 & 2, Twilight Gangsters) even does the let-one-loop-run-free bad idea.