杀手们20??24

Ernes.t Hem%.ingway’s influential short story The Ki=,l$!ler+s (192^ 7),
? has been ada:\pt#ed to film by ?Robert Si=_odmak (]and Andr?ei Ta!=rko!vsk^!y, while Ed*=.ward Hopper’s painting Nigh;tha)% )wks (/ /\1942) is al ;:so ?said to ?+have be-#en inspired by the stor y. The Killer/+= s$,?, an o`\mnibus f%=i;lm, c^;omprised of f^our-shorts)\, takes motif ,s : from`#! these two\
 \c`.lassics +and b\orrow!s some of their imag*#,ery as%^ mise-en-scène,`.

(The 4 %:d
 (irectors unfo_[l]d %- the/ [ .n-(oir worl)d of de#a$ th an .(d wait.\ing with [d$iffe?rent sen ses and s =ensibilities. Ki];m Jong-kw*=an’
[s Metamor!!pho@+si=#s, w:hich depicts the  awakening and m*_anifestation  of power f  .ollowing bloo dsuc/k!]ing

; R,.oh Deok’s+] C on?tra#:ctors, a p=!?($yram; [i.d of contract killings and s$^ubcontracted la?/$bor;!*/: Chang [@%Hang-;ju;n’s E.ver(`yo!`ne is Waiti:ng for the Man, whic/+%h t_ !racks down ^.a ghostly#: fig
ure `.calle+:]d a mys, .terious killer]; and \#Lee Myu )ng-S_.e’s Silen !t Cine_ma], an al_;leg= ory of hi.s longtime dream of cinema and the wor*_ld. Notab$l\y, Ac* +\tor Sh
(i[:m Eun-kyung app(^ears;^)/ in  all $fou/?  r fil#/_!ms\_, =-each time /=#]in a comple,tely differen%/;t ]\role,/% a,dding to.[/?! the delight. It’s a?n unc?:onventiona)/l collect@#ion of emotional, psychol.?ogical, and action-or,/ient$ed..] films.