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Actually, what has struck me about Chinese, Hong Kong, Seoul films

is the lack of analysis: the director eschews the causal and concentrates on the condition itself.
Many directors use extremely limited dialogue, action, and cutting to produce seamless, existential works.
Hollywood endlessly repeats the "this is why this guy's so messed up" storytelling mantra whereas Asian directors (I am of course speaking in the broadest terms) either play off of that audience history or for intellectual reasons feel it interferes with "reality."


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