Castaway On The Moon Full Movie Free Download
Eleanora Parrot
The two Kims in the film communicate with English since the director wanted to reflect that they are different from the mainstream society that they are part of which use Korean and the isolates would have their own symbols rather than language.[7]
Actress Jung Ryeo-won said the favorite parts of the scenario were her character's scar on her forehead since she thought she would never do such makeup ever again on her career and the theme of hope. She also addressed the challenges while playing her character in the film because she felt lonely while filming most of her scenes alone.[8] Actor Jung Jae-young had to lose 7 kg for three months and did not trim his fingernails and toe nails and cut his hair to portray the look of a person who drifted to an uninhabited island.[9] They could only film the beach scenes in Bamseom since it was a nature reserve, so the forest scenes were filmed in Chungju and Changwon.[10] The film was the first to film in Bamseom and the filming was specially authorized by the Seoul authorities.[11]
As he learns to survive on the island, his cry for help scrawled in the sand is seen by Kim Jung-yeon (Jung Ryeo-won), a hikikomori who spots him while engaging in her nightly habit of photographing the moon. They soon begin exchanging messages, with Jung-yeon venturing out of her house at night to throw bottled messages onto the island, and Seong-geun writing his replies in the sand. Seong-geun also manages to cultivate crops to prepare noodles for an instant noodles packet of jajangmyeon.
A torrential storm arrives, destroying Seong-geun's farm and sweeping away the possessions he has collected. He is found by a group of workers sent to clean up litter on the island and forced off. Seong-geun boards a bus in the city to jump off the 63 Building. After overcoming her anxiety and desperately running across the bridge to find Seong-geun, Jung-yeon manages to catch up to his bus after the civil defense drill stalls it. She boards and introduces herself to him.
Mr. Kim is jobless, lost in debt and has been dumped by his girlfriend. He decides to end it all by jumping into the Han River - only to find himself washed up on a small, mid-river island. He soon abandons thoughts of suicide or rescue and begins a new life as a castaway. His antics catch the attention of a young woman whose apartment overlooks the river. Her discovery changes both their lives.
Castaway on the Moon is all of those things, on top of one of the most strange and uniquely beautiful cinematic experiences I've ever seen. I found it in that strange part of Netflix where a majority of people probably don't tread. I had only heard this film name dropped, but I knew nothing about the plot or what the film will make you feel...
This film is just too adorable I want to pinch its cheeks so much! It proudly wears its own weird personality which warms and breaks your heart at the same time. The two leads here are truly spectacular, I'm talking about Jung Jae-Young's manic behavior and Jung Ryeo-Won's nervous glances. Both their smiles too! Teeth-baring, genuine, undistracted, hopeful. What beautiful smiles, putting toothpaste commercials to shame! Smiles that reminds me of rainbows and glitter, smiles that can send away hurricanes and clear fogs.
I think even though the story itself is such a dramatic situation, it felt so relatable. I always really connect with stories of people who leave normal society and try to exist on their own. This one was told in such a unique way.
The romance really makes this film for me. They both feel so alone but they have this weird connection with each other and it gives them hope. I just thought this movie was so beautiful and sweet. Highly recommend!
An extremely unusual romantic comedy about two extremely unusual characters who fall in love in obviously an extremely unusual manner, Castaway on the Moon is a wickedly well-made & heartfelt work of creativity that in the end turned out to be an emotionally fulfilling & rewarding experience. Taking a leaf out of Cast Away & blending it with magical strands of love in a unique manner, this film is a fresh breathe of life that defies its genre conventions almost entirely.
Kim first chooses the most conventional of suicide techniques, jumping off a bridge into the Han River, like one of the poor bastards who became the little monster's hors d'œuvre in 괴물 (The Host). Result? He ends on Bamseom, one of Seoul's most peculiar sights: a tiny, uninhabited island in the middle of one of the world's most populated metropolitan areas, overlooking the mecca of Korean TV, Yeouido. You'd think people would find out about such peculiar castaway, particularly considering that the islet has been off-limits to the populace ever since 1999, for the sake of natural preservation. But no, he's completely, utterly ignored. And then his second suicide attempt is blessed with the impending and uncompromising gravitas of stomach convulsions. Which brings back the question. To be, or not to be.
Is this really the ultimate consummation, something to be so devoutly wished for? Are Kim's suicide attempts a final, one-way method of communication directed at a world which has so far ignored him? If they are, would this clamorous act manage to communicate something to a society which had always trampled on him, or would it just end as a teardrop in the ocean? And once you realize such dilemma, is suicide and its alleged resolutory effects still that much of a viable option? The routine is more or less the same: corporate restructuring, untimely termination, heavy debts which start to strangle one's social life and one by one take away all the people close to you, like petals dropping from a withering flower. And then, the final decision.
Lee Hae-Joon's choice of letting quick and clever pills of ironic wisdom guide his story in the form of narration is quite ingenious, particularly considering how the hilarity which ensues is always mixed with the bittersweet realization that, well, such is life. You'd think that a film in which over two thirds of the dialogue consist of voiceovers would water down the impact of the story. Yet, just like Wong Kar-Wai's 重慶森林 (Chungking Express), this excess of voiceover actually ends up helping the film tremendously, lending a great hand in terms of pacing, comic and dramatic timing. This kind of storytelling prowess would be quite surprising for a young director, but Lee had proven his knack for snappy dialogue many years before he even got the chance to sit on the director's chair. He was in fact a successful and eclectic writer in Chungmuro ever since 2000, when he debuted in the industry with the script for Kim Jee-woon's 커밍아웃 (Coming Out).
Just like Min Gyu-Dong and Kim Tae-Yong "separated" after 여고괴담 두번째 이야기 (Memento Mori), the two Lee parted ways professionally, with Lee Hae-Young embarking on the ambitious manhwa adaptation 29년 (29 Years), which realistically went belly up for funding problems (although producers are still adamant that it was only postponed), and Lee Hae-Joon with his solo debut, Castaway on the Moon. You can instantly find a trait d'union between this and Lee's debut work behind the camera, as we're once again dealing with personalities far outside the mainstream trying to communicate something in their own, special way. The difference, in this case, is that while Oh Dong-Gu's differences and desire to communicate them were somewhat innate, what the two Kim's of the story end up experiencing are differences this modern Korean society subjected them to, like social ostracism and the warts of class consciousness solely based on money.
Yes, two, because on the other side of the "moon" is a certain "Miss Kim," a young hikikomori who has been spending years confined inside her room, her lone means of communication the cell phone messages she sends to her mother from behind locked doors, and the mendacious personal interaction she enjoys on the Internet, creating a glamorous alter ego of herself to fly away from the gloom of reality. Her daily faade on social networking hubs like Cyworld, her unhealthy dieting habits and even ad-hoc workouts (giving her the illusion of living a normal, productive life) become a carefully planned routine, a repetitive yet soothing psychological safety net pushing into the abyss of oblivion all those inner demons about her future and identity that she would never want to face again; inner and outer demons like the scar on her forehead, a clear telltale of what might have caused this self-inflicted confinement, considering how crazy about image Korean society has become.
So what we start with are two social outcasts, reaching this peculiar destination in different ways, but nonetheless abandoned by society with the same disarming nonchalance. Mister Kim's last hopes of finding someone to call for help are met with:
1) a 119 operator, reacting with a no BS "ohh... the prank call of the hour. Yawn"-like aplomb to Kim's cries of "I'm stranded on a deserted island, in the middle of the Han River, you know, right under the bridge. Come and save me, dammit."
2) his (now former) girlfriend, reminding him that being an ass is still much better than being a penniless loser. At least you can feel miserable while being surrounded by money.
3) one of those heavenly-pitched female voices of doom, promoting some unlikely event which "certainly, dear costumer. Available all over the country, including (uninhabited) islands." What to do, if not going for the good old "necktie around the tree branch" deal? But then the unfathomable happens. Right at the moment of truth, when your life flashes by at 24 frames per second and prepares you for that oh-so profound final moment... ahh. Diarrhea. Whims of an indigestion from a few moons past, bestowing divine retribution upon you. Mon Dieu, you can't even die in peace here.