Thirst



__ Theme __ 1. He mainly explores the dark natures of human beings through the psychologic description of the main characters. He reveals humans' underlying desire and compunction, and usually ends the movie with their struggle and hope to be salvaged and forgiven. In this movie, Thirst, Sanghyun suppresses all his desires with his own will, and Taeju's desires are suppressed by the others' will. They suffer from the guilt right after feeling excitement of expressing their desires, and commit suicide at the end as an expiation for their wrong.
 * Thematic**

__ Plot __ 2. He gradually sets very heavy and anxious atmospheres throughout the film by developing a typical plot following inciting incident, conflict, climax and the resolution. By bringing the inciting incident little early and simple, but disquieting in the beginning of the movie, he emphasizes the conflict and maximizes tension during the climax. He ends the movie with relatively calm and peaceful resolution, but still maintains tension to the very end of the movie.

__ Mise-en-scene __ 3. He uses variety of props and placement of actors in a specific place and position to enhance the conveyance of the motif of the film. After Sanghyun and Taeju conspire and kill Taeju's husband, they suffer from fear that Taeju's husband is always around and watching them, and guilt that they had an affair and brutally killed innocent Taeju's husband. Their fear and guilt are well portrayed through the director's mise-en-scene; in a supposition that it is in their imagination, Taeju's husband is laid on the bed between Sanghyun and Taeju and has genial smile on is face, while Taeju and Sanghyun wears a worried look.
 * Stylistic**

4. In the beginning of the movie, before Sanghyun is affected by Eve virus and becomes a vampire, he is always obsessed with doing what's right and restricts himself from all the desires for secular things around the world. It is shown through the director's use of mise-en-scene, in which Sanghyun is put within the lines drawn on the ground, and his face is overlapped with the dodgeball net.

5. In the beginning of the movie, when Sanghyun used to be obsessed with doing right as a priest and abstaining himself from wordily things, he played a white recorder. A white recorder represents his innocence, and his coughing blood on the recorder symbolizes destruction of his innocence and dramatic changes in his belief and behavior.

__ Cinematography __ 6. He is well known for frequent utilization of close-up shots of the main characters to vividly transmit their internal conflicts. In this film, Taeju and Sanghyun's faces and eyes are often closed up to reflect their confusion between the pursuit of ideal and expression of their deep desires.

7. He is also very famous for pertinent use of various camera angles. He uses dutch angle in a scene, which Sanghyun hangs on the wall of a tall building and discloses his identity as a vampire to Taeju to establish growing tension and uneasiness.

__ Editing __ 8. He often takes each main character in medium shot at both high and low camera angles, and puts the shots altogether through cross editing. So for example, in a scene, which Taeju and Sanghyun's Mah-jong players infer criminals of the death of Taeju's husband, each Mah-jong player is taken in medium shot at either high and low angle and done cross-cut. In this way, the director makes the movie flow very smoothly with gradual increase of mystery and suspense.

__ Sound __ 9. Volumes of diegetic sounds are maximized when the main characters leak blood, kiss, and drink wine and vodka. Non-diegetic sound such as the background music is excluded and other diegetic sounds of people's conversation are also turned down. This sound adjustment is to highlight a theme that 'mouth' is the initial point of all the desires, and the ignition point of all the sins.

__ Lighting __ 10. The director often uses specific colors for lighting to set certain atmospheres and develop the theme. As he used green lighting in one of the revenge-trilogy, he uses another color for lighting in this film. The tone of the film is very blue overall. He uses blue lighting throughout the film to establish very cold and disparate atmospheres reconciling with one of the motives of the film, one's moral degeneration. He also uses halloween lighting for several times to well portrait the main characters' growing fear and guilt for their extreme expressions of desires beyond morality.