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In Frame: The Axial Cut (Why Has Bodhi Dharma Left For The East)

These three successive shots, taken from somewhere in the middle of the long and meditative Why Has Bodhi Dharma Left For The East, illustrate an excellent scene featuring axial cutting. It reminded me of something you might find in a bizarro zen Kurosawa film.

As for Why Has Bodhi Dharma Left For The East (1989), it’s beautiful film, painstakingly shot and edited by director Bae Yong-Kyun, who was trained as a painter at the time and is a South Korean art professor. It’s a bit long, though, and I think Spring, Summer, Fall, Winter… and Spring (2003), another South Korean film, more successfully conveys a similar theme, and it does so in 103 minutes and in glorious HD.

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