The Flower Girl backdrop

The Flower Girl

1972·Drama·2h 7m
7.1
The country is occupied by the Japanese imperialists. Koppun is selling flowers at the market to get some money to buy medicine for her sick mother. Her brother is imprisoned, her father dead and her sister blind.
Directed by Hak Pak and Choe Ik-gyu
sacrifice
optimism
poverty
compassion
motherhood
national identity
determination
sisterhood
resilience
traditional values
folk tale
adversity
social inequality
north korean cinema
family bonds
street vendors
flower selling

Crew

Hak Pak
Hak Pak
Director
Choe Ik-gyu
Choe Ik-gyu
Director
Kim Il-sung
Kim Il-sung
Screenplay

Popular Reviews

8 reviews
steez
steezPRO
The Flower Girl
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Jack
Jack
The Flower Girl
i watched this movie pretty much just so i could say the following:

if you dont like socialism, get the fuck off my page. if you dont like progressivism, get the fuck off my page. if you’re a racist xenophobic nationalist, get the fuck off my page. if you’re transphobic, get the fuck off my page. you get the gist? 

theres a putrid number of bigots in the film community for some reason, and its absolutely fucking disgusting, it sickens me. 

fuck nazis, fuck bigots, fuck transphobes, fuck conservatives, you know who you are 🫵

(this a pretty damn good movie too tbh, capitalism and imperial japan can get fucked)
i watched this movie pretty much just so i could say the following:

if you dont like socialism, get the fuck off my page. if you dont like progressivism, get the fuck off my page. if you’re a racist xenophobic nationalist, get the fuck off my page. if you’re transphobic, get the fuck off my page. you get the gist? 

theres a putrid number of bigots in the film community for some reason, and its absolutely fucking disgusting, it sickens me. 

fuck nazis, fuck bigots, fuck transphobes, fuck conservatives, you know who you are 🫵

(this a pretty damn good movie too tbh, capitalism and imperial japan can get fucked)
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Ari
Ari
The Flower Girl
It’s a revolutionary opera so it’s very up front, urgent, and instantly rousing, but I found myself even more impressed with how well this work of stage/theater propaganda was adapted to a more filmic vocabulary with its own emotional framing and thematic possibilities. The contradictions underlying Japan-occupied Korea are presented so matter-of-factly, are explored in such a harrowing and humanizing way (the music helps), and overflow with such inevitability, moody shot composition, and unparalleled passion… like watching the collective imagination—and future—of millions be unlocked… immediate pain and historical sacrifice is not all for naught—it should not be reframed and appropriated by the next generation, to be merely affirming new oppressions—it is a burden carried so that it can be better understood and, thus, overcome by said next generation. There’s an applicable Paulo Freire line about how the oppressed knows double what the oppressor knows just by virtue of that dichotomy existing.

Here are the wrongs of society—>these are the victims who bare them—>here’s how you right the wrongs, overcome trauma, and defeat the oppressors—>here’s why we, the revolutionaries, are the only force that can undo this lineage predestined to slave labor… an eternal story that is utterly convincing if you don’t find it already true
It’s a revolutionary opera so it’s very up front, urgent, and instantly rousing, but I found myself even more impressed with how well this work of stage/theater propaganda was adapted to a more filmic vocabulary with its own emotional framing and thematic possibilities. The contradictions underlying Japan-occupied Korea are presented so matter-of-factly, are explored in such a harrowing and humanizing way (the music helps), and overflow with such inevitability, moody shot composition, and unparalleled passion… like watching the collective imagination—and future—of millions be unlocked… immediate pain and historical sacrifice is not all for naught—it should not be reframed and appropriated by the next generation, to be merely affirming new oppressions—it is a burden carried so that it can be better understood and, thus, overcome by said next generation. There’s an applicable Paulo Freire line about how the oppressed knows double what the oppressor knows just by virtue of that dichotomy existing.

Here are the wrongs of society—>these are the victims who bare them—>here’s how you right the wrongs, overcome trauma, and defeat the oppressors—>here’s why we, the revolutionaries, are the only force that can undo this lineage predestined to slave labor… an eternal story that is utterly convincing if you don’t find it already true
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Louise
Louise
The Flower Girl
one thing abt socialist film is that it’s bechdel approved 🙏
one thing abt socialist film is that it’s bechdel approved 🙏
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Hope
Hope
The Flower Girl
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