Kobayashi:　 That when the film start to make a move. In addition to 國村隼 vs. mysterious woman in the confrontation, here comes 황정민(ファン・ジョンミン) the faith healer. That’s when the film wins and starts to head for a chaos. 황정민(ファン・ジョンミン) acts like hell like no Japanese actors act.

Aida:　 He is a perpetrator and a victim at the same time. Not just one of the two. Or Both of them. He looks that way because he doesn’t play with his brain. There may be many different interpretations, and none of them is right after all. That’s the amazing part. The film never lands, because of the way he acts. Without him, that insatiable emotion never appears.

Kobayashi:　 I guess he is so physical. That’s how 나홍진(ナ・ホンジン) directs. Zoom-up flows are totally different from the Japanese and US movies at their height. When 國村 is tumbling down the slope, it’s not the linked moments he falls and he stops, like the scene of these days. 나홍진(ナ・ホンジン) embraces the primitive joy of films of tumbling down the downhill.

Aida:　 國村 had a challenging time, I’ve heard. The director demanded him to have no limit. He is 60 years old, and says that was the first time in his actor life to say “Enough, let me stop here.”(LOL) No other directors are that tenacious. He just wants to shoot as incredible cuts as possible.

Kobayashi:　 After all, movies are not understandable or not. It is about the experience of being bewildered by great movies. Indeed, I was so at a loss when “Kokuson” ended.

Aida:　 A wonderful movie can make mystified and hallucinated. And it is okay for us to take it wrong. That’s the generosity of a good movie. Most of the audience believes there should be only one right answer to convince themselves, this film demonstrates one possibility.