这部《婚礼》走的是浓墨重彩的黑色幽默路子，叙事节奏像打翻了醋坛子，酸中带辣。影片最动人的地方在于它没有流于表面的煽情，而是聚焦于两颗孤独灵魂在情感边缘的试探与挣扎，情感真挚且余味悠长。 影片最大的看点在于其独特的“仪式感”叙事，全程没有对话，仅凭百余人虔诚的婚礼现场营造出一种肃穆、甚至带有压迫感的宿命氛围。郑海龙导演极具人文关怀，全程没有刻意煽情，却用温暖的镜头捕捉到了韩国底层家庭的众生相。 影后沈恩京贡献了极具爆发力的演技，将女性在婚姻围城前后的心理变化演绎得层次分明，那种无声的绝望极具感染力。它用平实克制的镜头语言，聚焦于婚礼前夜主角内心剧烈的波澜，将兄妹之间那种细腻、纠结又隐忍的爱意刻画得入木三分。

Set at the turn of the century, the story concerns a Polish poet living in Cracow who has decided to marry a peasant girl. The wedding is attended by a heterogenous group of people from all strata of Polish society, who dance, get drunk and lament Poland's 100-year-long division of Poland under Russia, Prussia, and Austria. The bridegroom, a painter friend, and a journalist each in turn is confronted with spectres of Polish past. In the end a call to arms is called but turns out to be a hoax.

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