Watch Spring, Summer, Fall, Winter… and Spring (2003) full movies – Easily one of the best films of that year, or previous year, or any year, “Spring, Summer, Fall, Winter…and Spring” is a tale of “cycle of life.” The idea is not original but the result is amazing. It is perfection of simplicity, the story told by images more than by words. There are very few words but how much has been said. There are only two main characters but we are completely drawn to their life-long journey for the meaning and balance. Looking for inner peace, they encounter innocence, lust, passion, guilt, and redemption. It is a simply crafted story yet deep and subtle. It does what all movies try to do but only few have achieved – takes us out of our world, puts in another and keeps us there for days, weeks, and months.
Spring, Summer, Fall, Winter… and Spring (2003) 123movies – Watch Spring, Summer, Fall, Winter… and Spring (2003) full movies
Review by alexander-lewis – I was left speechless by this movie
This film left me speechless, and I still have a hard time putting how I feel about this movie into words. After seeing it the first time in the theater, my friend and I couldn’t bring ourselves to say a word to each other…not even in the car on the ride back. The second time I saw it, after purchasing it, another friend and I walked around the campus for half an hour in silence. The third time, a friend and I sat in silence in her room for an hour after the movie was over. This film is that profound, touching, and moving.
Spring, Summer, Fall, Winter…Spring is the most beautiful movie I have ever seen. Visually it is fantastic, though several films surpass it in this aspect. However, the film manages to speak directly to the soul (or…failing to believe in the soul…something deep inside anyone watching it), and this is where it’s beauty lies. Parts are so affecting that a painful nostalgia for a place you never knew overwhelms you.
I am sorry I cannot be more helpful…the quality that makes this movie so wonderful is well beyond words for me.
Review by kellan-uk – understated beautiful contemplative
a film of about the cycles of life, about solitude and love, innocence, corruption and redemption. stunning cinematography. lots of allusions and metaphors, as you might expect from Korean cinema. contemplative.
the story appears to centre on the life of buddhist monks living on a floating house, but as the film progresses, one sees that this is a film about the constancy within change and renewal. The female characters are not the most positive roles, representing corruption and temptation, tho also providing the means for renewal.
There are some memorable scenes not least the house in winter and the knife writing scene, this is not for those seeking martial arts action,
personally i found it slipped into one of favourite films list.
Review by Dromasca – not only cinema, but art
This film is a good example why cinema is called an art – this is not just another movie, but a real piece of art. The pleasure of seeing it belongs to the aesthetics, and it transcends beyond the action and beyond what only happens on screen, or what the characters say and do.
It is both a simple and complex story – the story of a life, catching all seasons of development of man: innocence of childhood – so quickly lost unfortunately, mistakes of the young age, tragedies of maturity , and wisdom coming with the old age.
The film is filmed at one location of a cut-breathing beauty. Beauty of nature is being maximized by the art of the camera. The soundtrack has little dialog, but the expressiveness of the actors makes the dialog useless. You feel the drama, you do not need to hear the words, and the music says more than words.
There are a lot of symbols in this movie, and I probably lost most of them because they belong to the Budhist culture. There are however many other symbols that speak to the European spectator – the cycles of life, the rhythms of nature, the magic figure 4, like the number of seasons of the year, or like the number of parts in classic symphony, the unity of space as in Greek tragedy, and time – one life instead of one day, all give to this creation a wonderful symmetry and equilibrium.
Worth seeing, this is a film that will make the delight of anybody who believes like I do that cinema is an art.
Review by Artzau – A Visual Delight
I’m constantly amazed by the appearance of some seemingly off-the-wall piece of art that when you view it evokes a stunning effect. The simplicity of this film, its low-key action and pace, its visual surrealistic beauty, all interact to create an emotional impression that is long-lasting and thought-provoking. Korea has been somewhat slower to enter the international cinematic world and here is a film with actors whose names stir little or no recognition. For myself, who has enjoyed the Korean films I’ve seen before, it was a delightful surprise. The film itself is a wonderful tapestry of Korean Buddhist culture, with quiet visual beauty, simple moral themes and human passions put into a simple, homespun perspective. The remarkable natural setting which reflects the wide spectrum of Korea’s seasons, which range from hot, sticky humid-fraught summers to icy, cold snow-bound winters, become a metaphor of life with unadorned figures, completely human in form. The old monk becomes a witness to the interplay of human qualities, without judgment yet with a complete and quiet moral presence. The foibles of child cruelty is met with a simple retribution which imparts a lasting lesson. Judgment is always withheld and warnings are given simply. The effect of all of this rings long and lasting, much like the impression of a delicate Korean silk print: simple in design with plain brush strokes and stylized representations of nature– yet, lasting in impression, often to the point of being unforgettable. I buy few videos and DVDs, preferring to see things I really enjoyed again and again. But, I’ve ordered this one.
Review by j30bell – A gentler addition to Kim’s compendium of sexual obsession
Spring, Summer, Winter, Autumn and Spring is something of a self conscious art-house film. Possibly Kim Ki-duk is trying to work off his reputation for making movies replete with violent sexual imagery, but he’s not fooling anyone. Spring contains admittedly in a much more restrained form most of the themes from his earlier works, The Isle and Bad Guy. Onto this, however, is pasted a hefty dose of Buddhist teaching. Or, from another perspective, an interesting juxtaposition of old and new.
Beginning in the Spring of an undefined year close to the present, the film is set on (and I mean, on) an isolated lake. A child acolyte lives out a life of quiet contemplation, punctuated by occasional acts of petty animal cruelty. His master, a monk, observes his young charge with increasing disapproval and orders him to undo his evil or face the consequences in his own life. It soon becomes apparent that he means this in anything but the figurative sense.
Moving through the seasons, Kim explores the “cycle of life”; with his acolyte experiencing youthful love (or lust), anger, violence and finally acceptance, contrition and peace. The film ends with a new acolyte and a new cycle: implying an endless repetition with subtle variation.
Spring is not exactly a subtle film, but it is beautifully done. Kim uses silence like few other filmmakers, matching Kurosawa or Bergman at their best. He punctuates these long slow movements with abrupt changes in tempo such as the arrival of Yeo. The pace quickens and the mood changes. The courtship of the adolescent boy and girl are some of the gentlest scenes in cinema (though culminating in a suitably Kim-like, energetic coupling).
With popular Buddhist and Confucian ideas now so firmly established in cinema (thanks in part to their bastardisation by George Lucas), the ideas in this film aren’t exactly going to leave its audience in need of a large glass of perspective and soda (to quote Douglas Adams). Lust leads to possessive urges, which lead to violence; ones violent actions lead on to violence against oneself; peace (and redemption) is found not through approbation, but understanding oneself.
I can’t quite dispel the notion that The Isle, with its sly humour and darker plot is a better film, or that Spring is, if not completely then at least partially, up the bottom of its own artiness. That said, it is a very, very pretty film. Its story is intelligent, if not awe-inspiring, and it is a delightful change of pace from most modern cinema. Most of all, it is probably one of Kim’s most accessible films, and I shall certainly be watching it again if only to see Oh Yeong-su practising his calligraphic art with the tail of a live cat.
Review by munchkin-17 – This movie is a sumptuous feast for the eyes..
..but an appalling advertisement for Buddhism (and I am no Buddhist). There is much to enjoy in the superb visual richness of this film, but I was left deeply concerned about its presentation of Buddhist principles and practice. If you hope see a film about a novice Buddhist monk being taught the great mysteries, learning to respect all forms of life, and exploring the nature of cause and effect in dialogues with his ‘master’ you will be deeply disappointed. Instead viewers are privy to a few religious rituals that fail miserably in preparing a novice monk for a compassionate, wise or peaceful adult life. Time and time again in the movie the novice monk fails to relate compassionately to either himself or those about him, and there are several scenes of simple (but repeated and extended) cruelty which made me cringe as a human being.
I found the various subtexts of the film (as I saw it) disturbing : that desire for sex (ie. desire for union of polarities & transcendence) is essentially a path that leads to suffering for all, and that the only way to find redemption for oneself is through time and ritual, rather than through practicing self-knowledge, kindness, and observing the nature of cause and effect.
Ultimately I found this quite a depressing film about the potential of the human spirit. The message of the film, that human beings can_only_learn through suffering, worries me most. The movie begins and ends with a human being causing suffering to other sentient beings (admittedly through ignorance). That (to me) shows very little insight into the real beauty and essence of Buddhism, and it’s also not very hopeful at all! After seeing this film I want to be a tree, for they have the most beautiful, untroubled existence in the film. The scenery in this movie merits much of my seven star rating.
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