n my opinion it was a great movie with some interesting elements, even though having some plot holes and the ending probably was just too messy and crammed together, but still fun to watch and not your casual movie that is similar to all other ones.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

The best films of this genre always show a path and provide a takeaway for being a better person.

Yes, absolutely, there is fun to be had, as well as many, many things to go boom, all amid an atmospheric urban jungle.

A portrait on the very fine Korean painter Ohwon that shows him in struggle, but always redeemed by his reputation, with the leaders. He is bold and does not want anything to come between him and his vision and so he says nay to the king and aristocrats if they want him to copy his previous successes. Him being a moody drunkard doesn't help him much with personal matters either. But he gets along fine.There some really strong poetry in these images, not only are the pictures very focused on the process of creating the paintings and the paintings themselves, we also see the nature and the beauty that inspires him, namely the Chinese and Korean masters, his teacher, the gisengs and their love and alcohol.People around him don't get much focus, the movie is about him and his art, but what we see of them they are independently thinking not backdrops for Ohwon. Choi Min-shik is good in acting out the temperamental artist and the supporting actors are good also. Ahn Sung-ki fits his role perfectly.The love scenes here were very, very hot and one image out in the reeds will stick to my irises for a while.This is the kind of movie that should represent Korea abroad, not the likes of 'Taegukgi'. Korean culture is shown in a wide variety of facets here. I would like to see more of this kind of movie, first maybe one about haiku poet Matsumoto Basho?

I'm always amazed at how people are easily impressed with "arty" asian movies. Even when they're obviously hollow, arrogant and awkward, like in this one.Come on. Everything is artificial and contrived in this movie. Even the cinematography is a mess, desperately trying to look arty but it only turns out to be trendy and over-aesthetic. But the worse is the acting... it's on par with the cheapest kung-fu movies from the 70's...!It's funny indeed: it's about a painter, there are "arty" outdoor scenes and it's asian, so it MUST be good. Simple equation for the shallow cinephile.How gullible are western people when it comes to asian cinema!Want REAL great asian cinema? Go for "Yao a yao yao dao waipo qiao" ("Shangai Triad"), "Yin shi nan nu" ("Eat, drink, man, woman"), and if you're on the "arty" side, go for "Hai shang hua" ("The Flowers of Shangai") or some Kurosawa movie. These are only some ideas, asian cinema has countless great movies. "Chihwaseon" is NOT one of them. Even some ambitious kung-fu flicks like "Hsia nu" ("Touch of Zen") easily surpasses this sophomoric artsy-fartsy work.

The fire gives all... This is one of film's most masterful meditations on artistry. Set in 19th century Korea it tells the story of the famous painter Ohwon, but rather than stick to saucy anecdote, melodrama, or psychological egg hunting, it portrays a series of episodes throughout his life, all of which are beautiful works of art in themselves. It gives no interpretation of these episodes, but leaves them for the viewer to ponder along with the paintings of Ohwon himself. In this way, the viewer enters into the same sort of contemplation as Ohwon, and minus his talent can "feel" their way into the inspiration of his paintings. Part of why this is so effective is the utterly masterful evocation of 19th century Korea and the musical/artistic world that Ohwon moved in. There are so many gorgeous shots of the world outside the paintings that we get a mirror effect where we see the beautiful world inspiring Ohwon, Ohwon living and looking in that world, and the works of art he creates, all mirroring off one another. The story is told with extreme economy. A feeling evoked is hardly ever lingered with or explained, it just appears quickly then is gone for the next one to appear. As an analogy it is a sort of Mozartian work of art (endless and quick succession of great ideas) rather than Beethovinian (Obsessive lingering on one great idea). It has a classical restraint, much like Ohwon's paintings. There is really no music hinting how to feel except a few classical Korean pieces used with great effectiveness in several scenes (and mostly played by characters in the movie). One haunting image, if I remember correctly, is of a flock of birds soaring away over the blue mountains while a female singer croons"This life is like a dream, and only death will awaken us" One telling line of advice in the film, from one of Ohwon's teachers, is that "the painting lies between the strokes." The film follows that attitude as there is so much matter *between* what is spoken and described in the film. I have seen it twice and it was very rewarding on the second viewing. A very terse film, with little in the way of obvert explanation, one could see how it is Im's 96th film. It is an artistic masterwork. Like Ohwon's great friend and mentor tells him in describing one of his paintings, "Not a single stroke is wasted." I compare it to Andrei Rubylev in quality, though in style it is very different. It is much easier and more directly entertaining to watch, but classical in form where Andrei is gothic. All in all highly recommended to almost anyone except appetite junkies. Both times I left the film I felt a wonderful spiritual renewal. One point of Ohwon's life that intruiged me was that his mad drinking and raving began suddenly after visiting the noble who told him that "Good art can come only from great knowledge and learning." The next brief scene Ohwon was very angry, and the next blasted drunk as he often remained for the remainder of the film. I am curious why the nobles words effected him so much and drove him to the drinking that dominated the rest of his life. Or was it just a coincidence?

Chi-hwa-seong (Painted Fire) recounts the life of Korean painter Jang Seong-ub amidst the changing political landscape of late 19th century Korea.However, the themes of this film center around the process of artistic creation through the fire of desire of the artist and the expectations and demands of their audience and society.Jang seong-ub is played masterfully as a complex character who changes from the innocent excitement of youth to a hardened alcoholic tortured soul. This characterization mirrors the young eager artist that finds it more and more difficult to invoke the spirit of artistic creation within himself without letting the creative fire out via drink, erections, and desire.Although this character development proceeds overall gradually through the film, the emotional complexity of Jang is still played in a constantly oscillating manner building to the films' finale. Interestingly, the montage of the film parallels this constantly changing and seemingly wild emotion or fire of the artist as scenes seamlessly transition from one time and location to another without any conventional 'cues' to the audience that such a scene change will occur. For example, many scenes would change seemingly in mid conversation picking up at another point and location. The visual scenery of the film is presented beautifully and also oscillates from stark (and perhaps bleak) black and white scenery to more colorful and alive environments that again parallel the paintings of Jang either in simple black ink on white paper or with color added. Rainbows of color enter the film at points as the artist observes nature and especially women that then become reflected in his paintings.The theme of an artist's individual desire to create versus the expectations and demands of society arises in the film through various points including class distinction, the domination of government over the artist, the accepted norms of the artistic elite, and the base desires of the common masses. Instead of creating his own completely original works, Jang finds himself mostly recreating masterpieces of other artists throughout East Asia. The question thus arises if recreation itself deserves artistic merit.I wish that I was more familiar with the political events of the period to firmly grasp how they tied into the story - but beyond any comparison to the current role of Korean government in artistic expression and/or censorship I cannot comment.Overall an extremely well acted film and the cinematography is often breathtaking. A great film to see and then ponder over.