Overview
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Release Date:
19 September 2003 (South Korea)
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Plot:
This film takes place in an isolated lake, where an old monk lives on a small floating temple. The wise master has also a young boy with him that teaches to become a monk. And we watch as seasons and years pass by.
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Awards:
11 wins
&
7 nominations
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User Comments:
a Buddhist meditation on life and death, and what surrounds us
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Additional Details
Also Known As:
Spring, Summer, Autumn, Winter... and Spring (Australia) (UK)
Spring, Summer, Fall, Winter... and Spring (International: English title) (USA)
Frühling, Sommer, Herbst, Winter... und Frühling (Germany)
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Rated R for some strong sexuality.
Runtime:
103 min
Aspect Ratio:
1.85 : 1
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Fun Stuff
Trivia:
The inscription on the floor is "The Heart Sutra", one of the most important Sutra of Mahayana Buddhism, written in literary Chinese.
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Goofs:
Revealing mistakes: After the cops take the young adult monk away and the old monk is standing on the monastery watching, a fine monofilament can be seen pulling the boat, which is ostensibly floating on the current, back to the monastery.
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Quotes:
Old Monk:
Lust awakens the desire to possess. And that awakens the intent to murder.
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FAQ
What is the Korean song played while the monk is climbing the mountain?
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I remember when I saw this film on screen last year, I was struck by the rhythm director Kim Ki-Duk used in the film. It's deliberate, too deliberate for most I'd suppose. But like a reading good piece of philosophy, the filmmaker allows the viewer to get as much as they may find in the work. The story is more of a fable than a really conventional narrative- a baby is delivered to the steps of a Buddhist house on a lake, where the boy is raised by a master. He grows up, and falls temptation to the desires of the world. He decides to leave, only to return and find himself again. In the end, as winter comes, things come full circle. Each of the 'seasons' of the film are handled delicately, with the kind of simplicity that may appeal even more to children (the segment of the first 'spring' with the child transcends religion and goes into the basic stance of nature). The scenes of finding lust in 'summer' is not terribly graphic, but it puts the point on what is right and wrong in the customs and traditions of the religion. Then in 'Autumn', there are harsher lessons to be learned, and this also contains the best acting from the old master and the young, angry pupil. And 'Winter' becomes the most meditative of them all, with next to no dialog. Indeed that may be the turn off to most viewers- to say that the film isn't supported by dialog is an under-statement. And its not necessarily documentary realism. What I sensed from the film, and what stuck with me for a few days afterward, was the spiritual attitude behind the style, the confidence that the rhythm had a connection with the subject matter. It's one of the most soulful films to come out of the Eastern world in some time. It's less a traditional drama than a unique experience, for better or worse, really more for the better.