Korean Festivals 2013

Actress Gong Hyo-jin is wonderfully charismatic as Yeong-hee

June 9, 2013January 31, 2015

You Are More Than Beautiful (그녀의 연기) – ★★★★☆

You Are More Than Beautiful (그녀의 연기)

Kim Tae-yong (김태용) is one of the few directors working in the Korean film industry who actively gives women a ‘voice’. Rather than define female protagonists through relationships or position them as objects/commodities, director Kim’s films are consistently compelling through the articulation of fully-formed women’s roles.

You Are More Than Beautiful (그녀의 연기) fits very much within such a framework. Indeed, the Korean titles literally translates as ‘Her Performance‘, an ironic title referring to both the director’s sensibilties as well as Gong Hyo-jin’s (공효진) outstanding acting talent. The 25 minute Hong Kong co-production is a highly charismatic short film, and despite the limited time frame manages to portray a lovingly nuanced and very entertaining romantic tale.

Upon learning of his terminally ill father’s condition, Jeju Islander Cheol-su (Park Hee-soon (박희순) must quickly return to his hometown to say a final farewell. However, wishing to show his father that he will be taken care of, Cheol-su hires an actress, Yeong-hee (Gong Hyo-jin), to act as his fiancee. Upon meeting the actress at the airport, Cheol-su quickly discovers Yeong-hee’s incredible positivity and charisma as she tries her utmost to fulfill her role.

Yeong-hee and Cheol-su meet at the airport, ready for their roles

First and foremost, the reason You Are More Than Beautiful is such a lovely short film is due to the superb performance of Gong Hyo-jin. From the moment she enters the film at the airport through to the final credits, the actress is constantly charismatic and it’s impossible not to be won over by her positivity. The title is particularly apt as Gong Hyo-jin is indeed very attractive, yet that is not what defines her character. It is Yeong-hee’s indomitable spirit and her cheeky-yet-playful personality that makes her so compelling to watch. Whether taking pictures in the countryside to reinforce the charade, or simply having a conversation to discover Cheol-su’s personality, Yeong-hee is a beautiful person both inside and out. Yet where the protagonist really shines in in meeting her fake fiancé’s terminally ill father. Her rendition of traditional Korean opera, as well as her interactions with the elderly gentleman, are a joy to behold due to the poignancy and heartwarming comedy embodied by the actress.

Actor Park Hee-soon also provides a great foil as stoic and sombre Cheol-su. The reason for his melancholy seems to go beyond his father’s illness, with the washed out colour palette conveying his depression well. Watching Cheol-su’s reluctance to engage with Yeong-hee’s positivity is wonderfully entertaining, as her zest for life slows chips away at his cold exterior yet he still attempts to keep her at a distance. The mismatched couple convey more heart and emotional connection than most films manage in three times the length, which is an incredible feat.

To flesh out the facade, the couple discover each other’s traits

Director Kim has stated that prior to filming You Are More Than Beautiful, all he prepared were the camera and the cast. This is quite surprising as the cinematography is very attractive throughout the film, particularly the manner in which the natural beauty of Jeju Island is captured. The roads and paths, as well as the horse farm, highlight the unspoiled nature of the island and as such conveys the romanticism with which Jeju has become renowned. Similarly, while the great outdoors looks gorgeous, director Kim employs some wonderful symmetrical shots to emphasis different stages of the evolving relationship between Yeong-hee and Cheol-su to great effect.

Yet despite such praise, the film isn’t quite perfect. It’s a credit to director Kim and the actors involved that although a lot of events occur during the 25 minute running time, there is still a desire for more. This certainly could have been achieved with more development ascribed to Cheol-su, whose character isn’t as fully-formed as Yeong-hee. Yet with Gong Hyo-jin on such amazing form it is entirely understandable, as her enthralling charisma and grace make the film so compelling.

Actress Gong Hyo-jin is wonderfully charismatic as Yeong-hee

Verdict:

You Are More Than Beautiful is a delightful short film by director Kim Tae-yong. As one of the few directors in the Korean film industry creating fully-developed female roles his films are always interesting, and actress Gong Hyo-jin takes full advantage of the opportunity to perform her acting talent. Throughout the film she is utterly compelling and wonderfully charismatic, living up to the title as her passion for life and positivity make her more than an attractive women. A lovely short film.

★★★★☆

International Women's Film Festival in Seoul (서울국제여성영화제) Reviews

May 29, 2013January 31, 2015

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Modern Family (가족 시네마) – ★★★☆☆

Modern Family (가족시네마 )

Modern Family (가족 시네마) is a collection of four short films that explores the different forms of trauma that can occur for contemporary families. Each story is a very interesting and well-crafted vision of the issues facing the family unit, with each respective director’s style shining through in the quest to articulate the emotional complexities of the situation.

The short films deal with a surprising array of topics including unemployment, the loss of a child, parental responsibility and women’s rights in the workplace. What is wonderful about each entry is the sincerity in which the issue is explored. Often subtle and understated, Modern Family is an insightful film about the complexities of family and the attempts to survive in contemporary society.

Yet ironically, as each short film is so interesting, they all feel as if they end too soon. All four directors have chosen potent topics to explore, and the short time limit means that each respective story feels cut short. The depth each director has applied in examining familial issues is powerful yet seems to only scratch the surface of the situation. It is a testament to the director’s skill that each entry causes a desire for more information, but it is a desire that, for the most part, goes unfulfilled.

In the interest of fairness, each short film is reviewed individually, before a final summary.

Circle Line (순환선)

Circle Line (순환선) – ★★★★☆

Director Shin Su-won’s (신수원) Circle Line is the most prestigious entry within Modern Family, having won the Canal+ prize at Cannes in 2012. The award is thoroughly deserved, as director Shin employs some wonderful artistic shots and symbolism in exploring the life of a middle-aged man who has recently been made unemployed. To make matters worse, his wife is soon to give birth to their second child. Depressed and ashamed, the man simply travels on the subway circle line all day, searching for jobs on his laptop and observing the assortment of characters that come and go. Director Shin articulates the man’s frustrations superbly through the mise-en-scene and the minor, but highly symbolic, confrontations that arise. Jeong In-gi (정인기) is also terrific as the redundant father-to-be, providing a restrained performance that suddenly explodes when tensions become too much to bear. Circle Line is as much a commentary on contemporary masculinity, economy, and society as it is about family, and it’s the subtle manner in which each area is dealt with that makes the film so compelling.

Star-shaped Stain (별 모양의 얼룩)

Star-shaped Stain (별 모양의 얼룩) – ★★★☆☆

Star-shaped Stain is arguably the most poignant film in the omnibus, as director Hong Ji-young (홍지영) examinations a couple whose daughter died through tragic circumstances. Initially the couple seem to be coping extremely well with the loss, however with the anniversary of the youngster’s death the barriers that they have built to cope with the trauma gradually wear down. Director Hong does a great job of gently peeling back the layers of the protagonists, particularly of the mother (Kim Ji-young, 김지영) who feels such a tremendous sense of guilt that she continuously revisits the events of her final encounter with her daughter. The real tragedy comes in the form of the hope that her daughter is alive, as the once composed woman begins to unravel which is genuinely heartbreaking to witness. The moving film is unfortunately cut short just as it starts to become seriously compelling, as the protagonists are pushed into highly emotional and psychological territory but then abruptly ends. This is a real shame as there is a lot more potential to be explored, but which never materializes due to the limitations of the running time.

E.D.571

E.D.571 – ★★★☆☆

Director Lee Soo-yeon’s (이수연) entry is the only one which adds a more science-fiction sensibility to the exploration of family by setting the story in the year 2030. A workaholic career woman (Seon Woo-seon, 선우선) leads a rather lonely life, living purely to work. Yet it is thrown into disarray when a young girl (Ji Woo, 지우) appears on her doorstep claiming to be her biological daughter, the result of selling an unfertilized egg in order to pay for tuition years prior. The film is a commentary on parental responsibility with the media full of reports about criminal youths and gangs, but with the arrival of the biological daughter it becomes clear that such actions are the results of awful parenting and neglect. However E.D. 571 doesn’t really explore the issue with the depth required for it to be insightful, with mentions of certain situations but lacking the psychological and emotional depth for them to carry any weight. Part of the reason is the decision to shoot the entire confrontation in the woman’s home in the form of a battle of wits which, while certainly interesting, doesn’t really get to the heart of the issues being referenced.

In Good Company (인 굿 컴퍼니 )

In Good Company (인 굿 컴퍼니) – ★★★☆☆

In Good Company is an excellent examination of the misogyny and unfairness women are forced to endure in contemporary Korea. Director Kim Seong-ho (김성호) also wisely shoots his film in the form of a documentary adding a greater sense of realism, while adding dramatic ‘reconstructions’ of the events that occurred as a pregnant worker is forced to resign in order to save a company providing maternity pay. Interestingly, rather than centering the argument around exploitative patriarchy through the male boss – performed ably by Lee Myeong-haeng (이명행) – the narrative emphasises the work ethic within Korean culture, and the lack of female solidarity, as the source of the problem. This is where In Good Company really shines, as the women who should know better and support each other actually perpetuate the misogyny, which is a highly refreshing take on the subject. While the film explores the issues well, it is ultimately let down in the quest to tie up all the narrative loose ends through a contrived finale which undermines what came before.

Verdict:

Modern Family is an insightful collection of 4 short films concerned with trauma in the contemporary family unit. Each director – Shin Su-won, Hong Ji-young, Lee Soo-yeon and Kim Seong-ho – have each produced work that exemplifies their unique styles as well as exploring quite diverse areas, and the omnibus is consistently compelling throughout. The time limitations do have a negative impact on the storytelling however, as just as the narrative begins to push their protagonists in dramatic directions the film is cut short, or the rush to tie everything up leads to contrivances. Despite this, Modern Family is a thought-provoking drama, and a great showcase of directing talent.

★★★☆☆

International Women's Film Festival in Seoul (서울국제여성영화제) Reviews

May 28, 2013January 31, 2015

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WFFIS 2013: Quick Fire Reviews 3

The quick-fire reviews featured here are from the Asian Short Film and Video Competition (아시아 단편경선):

BRA (브라자)

BRA (브라자) – 7/10

Director Won Jan-di’s (원잔디) coming-of-age drama is a lovely and compelling story about a young girl called Da-young on the verge of entering adolescence The tale encapsulates a wide spectrum of human emotion as Da-hyung desires to be seen as a woman by the boy she likes, and as such focuses on breasts as the sign of womanhood. As Da-young steals her grandmother’s bra and attempts to create breasts of her own, the film becomes a heart-warming tale of innocence with sweet moments of genuine comedy and drama. Director Won also seeks to create a comparison between Da-young and her grandmother, who is going through similar trials of her own. Yet as the grandmother’s story isn’t as developed as Da-young’s it serves to detract from the main story, although their discussion about entering womanhood is poignant and insightful. Certainly one of the better short films in the competition.

Chunjung (춘정)

Chunjung (춘정) – 4/10

To be honest, it’s quite difficult to accurately review Chunjung as the English subtitles were so awful that the story was difficult to follow. Director Lee Mi-rang’s (이미랑) entry follows Chinese immigrant Chunjung, who joins an agency which cons elderly Korean people into parting with their money. It’s illegal of course, yet she forms relationships with the other women working there. It’s an odd film, as Chunjung appears to be mentally ill as well as illiterate, while the women at the agency always seem to talk about finding a man. Ultimately the film does very little to explore either the immigrant experience or Chunjung as a character, although hints of such may have been missed due to the terrible subtitles.

Fitting Room (피팅룸)

Fitting Room (피팅룸) – 4/10

Fitting Room is concerned with a mother who wishes to have a life of freedom, but can’t due to her young daughter. It is extremely difficult to empathise with the mother as she treats her daughter terribly throughout, never talking to her or attempting to understand the youngster. The turning point comes when the mother hides the sleeping girl in a closet in order to have sex with her boyfriend, which seems to be the catalyst for wishing to be a better mum. Director Oh Jung-mi (오정미) is clearly attempting to explore the evolving relationship between a bad single mother and her innocent daughter, but there is little depth due to the lack of dialogue and restriction within an apartment.

Mija (미자)

Mija (미자) – 6/10

Director Jeon Hyo-jeong’s (전효정) examination of lonely middle-aged woman Mija is an insightful, poignant, and often comedic short film. Her secret lover is a younger Nepalese man – a feature which sadly instigated gasps amongst the audience – and Mija decides to purchase tickets for them both to visit his homeland. The real power of the film lies in Mija’s desire to overcome her jealousies and her age through cosmetics and other methods, yet is ultimately unable to do so. The film is a poignant and moving depiction of a single middle-aged woman who wishes to change her life, with just enough comedy to keep the narrative from becoming bleak.

Mira’s Will (미라의 의지)

Mira’s Will (미라의 의지) – 5/10

One of the more straightforward comedy offerings, Mira’s Will tells the story of a lonely young woman who has yet to experience her first kiss. The film is often more mildly amusing rather than funny, although the advice given by a friend to enhance her sex appeal – not to wear underwear on a date – adds some laughs. Director Lee Eun-jeong’s (이은정) entry is entertaining, especially witnessing Mira take control of her sexuality in order to seduce a man, but suffers as she is so desperate she’s willing to accept anyone. The film also doesn’t end well as wearing no panties on a date leads to a predictable outcome. However it is refreshing to see a female character take control of her sexuality – and to desire sex – without any connotations of shame, and as such is an enjoyable tale.

The Room of Drink (살롱 드 보아)

The Room of Drink (살롱 드 보아) – 3/10

The Room of Drink is an exploration of the way in which women are exploited in hostess bars by wealthy men. The premise is full of potential, as the hostess bar culture in Korea highlights one of the more accepted forms of misogyny within the country. However the film fails to scratch any of the surfaces that are so ripe for examination. When a pretty, young office worker is asked to drop by such a bar to provide documents for her boss, she is ushered into acting like a hostess, pouring drinks for her boss’ companion and allowing him to touch her. The unease is palpable, although never moves into the realm of tension, while the glares passed between the office worker and the real hostess convey an odd mix of jealousy and judgement that are not really explored. A missed opportunity by director Sohn Hae-sook (손해숙).

May 27, 2013January 31, 2015

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WFFIS 2013: Quick Fire Reviews 2

The quick-fire reviews featured here are from the Polemics: The Constellation of the Violence Against Women (쟁점: 보이지 않는 – 폭력의 관계구조) section:

Bad Scene (배드신)

Bad Scene (배드신) – 6/10

Bad Scene depicts the story of struggling actress Jin-hong who, due to her 28 years of age, fails to get the part of a high school student. However there is a role in the film suitable for her, but it involves a lot of nudity. Writer/director Jeon Go-woon (전고운) explores the internal conflict of a woman who wishes to succeed yet must use her body to do so, highlighting the serious issue of the physical exploitation of women in the workplace. Yet ironically the strength of the film doesn’t lie in the main story, but in events that surround it. Jin-hong tapes her breasts to be upright and perky, and sexualizes herself in school uniform, even before the nude role is offered. In attempting to prepare for the sex scene, Jin-hong asks a male friend to help but in doing so is almost raped, as he protests that she, “started it.” The psychological and psychical exhaustion she suffers are clear throughout, yet the main problem with Bad Scene is that in depicting her private life the film loses focus on the actual ‘bad scene’ itself and the way women are exploited on camera. A moving and thought-provoking drama that could of benefited from greater focus and/or an extra ten minutes for exploration.

Deviation (도착)

Deviation (도착) – 5/10

Director Lee Min-beh (이민배) explores the ‘male gaze’ and the hypocrisy of masculinity in Deviation. On the subway Su-jin overhears men discussing the leak of a sex tape by a prominent actress, and the rampant misogyny in their ideology as they chastise the actress yet are excited by watching it. However the film then takes an awkward turn as Su-jin visits a police station due to the arrest of her boyfriend, who has been secretly taking pictures of women’s legs. The hypocrisy of the officers is explored as they accuse the boyfriend of perversion yet do so themselves, and make up appallingly sexist reasons for the crime. Much of the running time is spent in the station which is unfortunate, as the conversations are generally pushed too far beyond the realm of believability for it to be of consequence. Yet director Lee does finish on an ironic and pertinent end note, by directly accusing the audience of sexism through the voyeurism of the camera itself, which is a nice touch.

My No Mercy Home (잔인한 나의, 홈)

My No Mercy Home (잔인한 나의, 홈) – 7/10

Documentary My No Mercy Home is a powerful viewing experience, as director Aori (아오리) follows the court case of a young woman – nicknamed ‘Dolphin’ – as she sues her father for rape and sexual assault which commenced in the 8th grade. Yet what is truly shocking about this real-life story is how Dolphin’s family accuse her of lying, despite the evidence to the contrary, and ex-communicated by the mostly female members of the family. Technically the film is quite rough-around-the-edges, yet Dolphin’s story is so heart-breakingly sincere that it highly compelling, albeit difficult, viewing. One of the wonderful elements of My No Mercy Home is the emphasis on other women as villains; while the father is responsible for rape, it is Dolphin’s mother, aunt and sisters, as well as an ex-boyfriend’s mother and various others figures, who turn their backs on the truth and Dolphin’s suffering. While it would have benefited from greater technical prowess, the film is a sincere and moving documentary.

Festival News International Women's Film Festival in Seoul (서울국제여성영화제) Korean Festivals 2013 Reviews

May 27, 2013January 31, 2015

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WFFIS 2013: Quick Fire Reviews 1

The first in a series of quick-fire reviews from the 15th Seoul Women’s Film Festival, 2013:

You Are More Than Beautiful (그녀의 연기)

You Are More Than Beautiful (그녀의 연기) – 8/10

Director Kim Tae-yong’s (김태용) You Are More Than Beautiful is a wonderfully charismatic short film, due wholly to the performance of Gong Hyo-jin (공효진). The story involves Jeju Islander – and singleton – Cheol-su, who returns to the island upon hearing that his elderly father is seriously ill. To ease his father’s suffering Cheol-su hires actress Young-hee (Gong) to play the role of his fiancee, so that he may leave this world without worrying about his son. While it certainly sounds like weighty subject matter, Gong’s charisma and grace elevate the film into a heartfelt comedy-drama as her playful personality turns all forms of negativity into keen optimism. Indeed, her rendition of traditional Korean opera is poignantly moving and uplifting, emphasising her caliber as an actress. As one of the few directors in contemporary Korea cinema featuring women in prominent roles, Kim Tae-yong does incredibly well in simply allowing Gong to act, while his vision captures the Jeju scenery beautifully. A lovely short film.

My Place (마이 플레이스)

My Place (마이 플레이스) – 9/10

Having already seen My Place at the Jeonju International Film Festival, could director Park Moon-chil’s (박문칠) documentary have the same resonance on a repeated viewing? Absolutely. Experiencing director Park’s evolving perspective on his family is consistently compelling and entertaining, as he changes from a man worried about his sister’s out-of-wedlock pregnancy to a man who comes to admire her strength of character. The personal family trauma that he places on screen is sincere and poignant, and director Park never shies away from the more difficult – and defining – periods from their history. He balances the representation of each family member incredibly well, simultaneously caring yet objective, allowing for each person to openly convey their psychology. An excellent documentary about family hardship and the desire to set things right.

Pluto (명왕성)

Pluto (명왕성) – 9/10

Pluto is, quite simply, an excellent film. Director Shin Su-won’s (신수원) second feature length film is a brilliant exploration of the enormous pressure students experience within the Korean education system, and how the competitive nature to join a prestigious university forges a psychologically unbalanced generation. Director Shin’s vision shines throughout with some truly wonderful shots and compositions, articulating the fragile mental states of the protagonists by featuring superb use of the mise-en-scene. Some critics took issue with manner in which the film changes tone from high school drama to cop thriller, yet while the point is valid the evolving aesthetics and conventions do nothing to dampen the power of the story. In fact in doing so, the potency of the drama is elevated as adult institutions are held accountable, while the inclusion of thriller conventions should guarantee a more mainstream appeal. A powerful drama with an important social message, Pluto is certainly one of the best films of the year and it will very interesting to see audience reaction when it’s released nationwide in July.

Festival News International Women's Film Festival in Seoul (서울국제여성영화제) Korean Festivals 2013 Reviews

The 15th International Women's Film Festival in Seoul

May 15, 2013January 31, 2015

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WFFIS 2013: Asian Short Film and Video Competition

The 15th International Women’s Film Festival in Seoul

With so many exciting films centered around the representation of women in cinema and women’s issues, the International Women’s Film Festival in Seoul is gearing up to be a strong event for its 15th installment. Previously, the Korean offerings that have been explored here at Hanguk Yeonghwa emphasise the many and varied roles occupied by women in cinema, in New Currents, The Coming of Age in Asian Women Filmmaking and Violence Against Women, and Actress, Muse With A Movie Camera and Queer Rainbow: Queer x Feminism. Each of these categories serve to place a spotlight on the talented female filmmakers that exist within Korea, and their explorations of the great many contemporary challenges they face.

However every great film festival needs a competition, and WFFIS is no different. Here the Korean entries in the Asian Short Film and Video Competition are profiled, with an incredibly broad range of topics featured. From adolescent tales of puberty to desiring a first kiss, from a secret relationship with a foreigner to feminist figures, the short film competition has something strikes a chord with just about every age group.

Asian Short Film and Video Competition

The Bathhouse (목욕탕)

The Bathhouse (목욕탕)

Director: Kim Ji-su (김지수)

Synopsis: This 7 minute animated film explores the sauna culture within Korea, where people soak themselves in pools of different temperatures. The style conveys something of a celebration of women’s bodies.

Beast Is My Middle Name (맹수는 나의 것)

Beast Is My Middle Name (맹수는 나의 것)

Director: Kim Bo-ra (김보라)

Synopsis: Female sexuality is explored in this drama as student Ji-ran develops a fascination for Yu-jin’s thighs, and thoughts and fantasies begin to emerge.

BRA (브라자)

BRA (브라자)

Director: Won Jan-di (원잔디)

Synopsis: BRA follows a young girl called Da-young, whose love for a man across the street leads her to desiring a bra like her friend wears. But will it provide confidence?

Chunjung (춘정)

Chunjung (춘정)

Director: Lee Mi-rang (이미랑)

Synopsis: Drama Chunjung explores the life of a woman living in contemporary Korea, and her desire to create a home. Her work and relationships are also featured.

The Confession (못 다한 이야기)

The Confession (못 다한 이야기)

Director: Kim Bo-mi (김보미)

Synopsis: This documentary is a heartfelt entry as the narrator explores the pain and loneliness of her separation from her ex-boyfriend.

Dictee-An Homage to Theresa Hak Kyung Cha (딕테-차학경 오마주)

Dictee-An Homage to Theresa Hak Kyung Cha (딕테-차학경 오마주)

Director: Mi-young (미영)

Synopsis: Murdered Korean-American artist Theresa Hak Kyung Cha’s life is the subject of this film, as her origins from the Korean War to her immigration to San Francisco to her death.

Fitting Room (피팅룸)

Fitting Room (피팅룸)

Director: Oh Jung-mi (오정미)

Synopsis: This 9 minute short portrays the relationship between a mother and her young daughter, how they argue and compromise, and bond through preparation.

Iron Age (철의 시대)

Iron Age (철의 시대)

Director: Jung Ji-yoon (정지윤)

Synopsis: Documentary Iron Age appears quite symbolic in nature as the film depicts a woman who has a hole in her heart. The film examines the nature of her personality.

Island in Island: More Oceans Inside, and More Islands Inside (섬 안의 섬, 그 안의 더 많은 바다, 그리고 그 안의 더 많은 섬들)

Island in Island: More Oceans Inside, and More Islands Inside (섬 안의 섬, 그 안의 더 많은 바다, 그리고 그 안의 더 많은 섬들)

Director: Kim Ji-yeong (김지영)

Synopsis: This experimental drama explores the concept of memory.

Mija (미자)

Mija (미자)

Director: Jeon Hyo-jeong (전효정)

Synopsis: A secret love with a foreign man is the subject of this drama, as a middle aged woman attempts to go abroad with her lover but encounters problems.

Mira’s Will (미라의 의지)

Mira’s Will (미라의 의지)

Director: Lee Eun-jeong (이은정)

Synopsis: A young woman named Mira decides to work on her sex appeal in order to finally succeed in getting her first kiss, but she takes things a little far.

The Room of Drink (살롱 드 보아)

The Room of Drink (살롱 드 보아)

Director: Sohn Hae-sook (손해숙)

Synopsis: Office worker Joo-hyun is forced to visit a hostess bar when her boss asks for documents, which forces her into an uncomfortable situation.

Sewing Woman (바느질 하는 여자)

Sewing Woman (바느질 하는 여자)

Director: Woo Jin (우진)

Synopsis: This 3 minute animated short is about a woman who never stops sewing. The aesthetics and stylisation look very interesting.

Festival News International Women's Film Festival in Seoul (서울국제여성영화제) Korean Festivals 2013

May 14, 2013January 31, 2015

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Sweet Temptation (잘 먹고 잘 사는 법) – ★★★★☆

Jeong-ho enjoys his diet of raw foods

At the 2013 Jeonju International Film Festival, Sweet Temptation (잘 먹고 잘 사는 법) had the distinction of walking away with the Grand Prize in the Korean Short Film Competition. It’s highly likely that the film will continue to do well on the festival circuit as director Jeong Han-Jin (정한진) has crafted a lovely tale about the bond between mother and son, and the role of food in maintaining and developing the relationship. Combined with the charming character study involving a young boy’s loyalty, as well as some very attractive cinematography, Sweet Temptation is an endearing and memorable short film. Jeong-ho lives alone with his mother and their bond grows ever stronger as they cultivate fruits and vegetables together, before returning home to prepare them for meals. Their life is seemingly idyllic, until a girl at school tempts Jeong-ho with an offer of chocolate. Conflicted between loyalty and desire, he must make a choice to decide what kind of person he wants to be.

Director Jeong wonderfully conveys the lives of Jeong-ho and his mother as they work on the allotments for produce. The vibrancy of the countryside articulates the happiness and warmth they feel when together as well as the satisfaction of eating the fruits and vegetables they’ve spent all day harvesting, which themselves are full of colour. The bright red tomatoes, pale green cucumbers, electric orange carrots and so on all combine to portray a high-spirited, and very healthy, satisfaction with their efforts. After such a heartwarming opening director Jeong then begins to slowly and gently peel back the layers from the seemingly idyllic lifestyle revealing it to be anything but simple. This subtlety is easily one of the greatest strengths of the film as Jeong-ho, while happy, is not content.

Han-jin is conflicted between being a good son and his desire for more

Jeong-ho is conflicted between being a good son and his desire for more

Jeong-ho’s school life is where Sweet Temptation really becomes a compelling film. In running around with other children and comparing food during lunch time, the young boy is actually somewhat of an outsider. Recognising this, a girl in his class takes pity on him and as they begin to forge a relationship Jeong-ho becomes ever more conflicted, as his new friend represents temptations that lead away from the teachings of his mother. The symbolic and innocent relationship is genuinely lovely and sincere, particularly as they attempt to educate each other on food. As such the ‘sweet temptation’ comes to mean not only the chocolate and promise of tasty meals, but also the desire for someone’s affection other than his mother, and watching Jeong-ho’s internal conflict unfold is a real highlight. The young actor portraying the character does an excellent job in conveying torn loyalties, and when placed in compromising situations his deeply sad and frustrated reactions are often palpable.

If there is criticism to be had, it comes in the form of the running time. Sweet Temptation is a consistently compelling short film, and director Jeong weaves some really interesting plot threads within the narrative that are never fully realised or explored. This is a real shame as these hints at a wider world and family history would undoubtedly be as equally fascinating with the director’s gentle stylisation. However, despite such drawbacks Sweet Temptation is a charming and endearing film and certainly warms the heart for a good deal after the final credits.

The bond between Han-jin and his single mother is wonderfully conveyed

Verdict:

Sweet Temptation won the Grand Prize at the 2013 Jeonju Film Festival in the Korean Short Film category, and not without good reason. Director Jeong Han-Jin has produced a lovely and endearing story about the bond between mother and son, and temptations that forge internal conflict in innocent minds. While plot threads are not capitalised on due to the short running time, Sweet Temptation remains a charming and heart-warming film.

★★★★☆

Festival News Green Film Festival in Seoul (제10회 서울환경영화제) Jeonju International Film Festival (제14회 전주국제영화제) Korean Festivals 2013 Reviews

May 11, 2013January 31, 2015

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Cats and Dogs (그 강아지 그 고양이) – ★★★☆☆

Cats and Dogs (그 강아지 그 고양이)

Proudly boasting to be Korea’s – and the world’s – first feature length film shot entirely with an iphone 4s, Cats and Dogs (그 강아지 그 고양이) could easily be a mere gimmick. Luckily however that’s not the case, as the film is a quite charming, albeit raw and cliched, romantic comedy. Aimed squarely at mid-teens to early twenties audiences, director Min Byung-Woo (민병우) explores the highs and lows in the relationship of a young couple in a light-hearted manner. While in a park, webtoon artist Koh Bo-eun (Son Min-ji (손민지) is suffering from depression following a break-up. When her anti-depressants accidently fall from her pocket, a wandering dog eats them and becomes sick, resulting in a race to the veterinarian. Following the treatment however, Bo-eun is forced to adopt the animal lest it will be put down. Meanwhile, walking in a different area of the park, illustrator Kang Woo-joo (Shin Myeong-geun (신명근) finds a cat abandoned and tied to a bench, and decides to adopt it despite his intention to leave. Due to their new animal friends, Bo-eun and Woo-joo meet everyday and are surprised to learn that they have unintentionally named their pets after each other, which sparks the beginning of a relationship.

The juxtaposition between the characters is very cute

Cats and Dogs is surprisingly technically sophisticated given the limitations imposed by iphone cameras. While initially the visual quality is more akin to a student film, such thoughts dissipate with time as the framing, editing, soundtrack and other such cinematic devices are competently employed in the construction of the rom-com. Of course, constraints are noticeable particularly in regards to establishing shots and camera movement, yet their absence does little to harm the narrative. Director Min, who also wrote the screenplay, wisely opts for an unambitious story to keep everything simple and this approach certainly helps in conveying the romance. Yet there are several moments when the lead protagonists are written into a corner, and the director employs the use of animated web-toons to bridge any narrative gaps. As Bo-eun and Woo-joo are web artists the sequences slot nicely into the film as well as continuing the tongue-in-cheek sensibilities that run throughout the film, in a heightened, postmodern fashion.

Fun animations are used to bridge scenes, and are quite charming

Cats and Dogs is first and foremost a romantic-comedy, and exploits all the ridiculous cliches that go hand-in-hand with the genre. This is a blessing in the sense that it is fun to witness such silliness and how the couple will fall for each other, and a curse for the very same reasons as it is extremely predictable from start to finish. It’s understandable however, given the sole use of the iphone camera. Director Min also seems to be aware of this, and aims the film at a younger – and arguably more accepting – demographic yet cheekily throws in some sexual suggestions to keep it slightly adult. As such the film grows and becomes quite charming as a result. Interestingly the narrative is just as concerned with the nature of breaking up as it is with creating a relationship, sneaking up on audiences amongst all the sugar-coated notions of romance which also forms part of the charisma.

As perhaps is to be expected, the performances are all over-the-top although the characters do become quite likable, particularly when they are compared to the animals they take care of. Shin Myeong-geun is arguably the most charismatic due to his comical and laid back nature, while Son Min-ji is colder and more distant. This is intentional however, and it’s good to see a Korean romantic story with genuine personality conflicts, as well as how they adapt to them. The supporting cast, meanwhile, are frankly awful and serve to drag the film down whenever they are on screen. Thankfully their appearances don’t last long, but the film still suffers from their presence.

Bo-eun and Woo-joo learn that the course of love is rarely smooth

Verdict:

Cats and Dogs is Korea’s – and the world’s – first feature length film shot entirely with iphone 4s cameras. Surprisingly the romantic-comedy isn’t as gimmicky as such a feature would have you believe, as the film is quite charming throughout despite the over-abundance of cliches. Director Min Byung-Woo wisely keeps things simple, although does attempt to explore personality clashes which is particularly refreshing when compared to other Korean rom-coms. Cats and Dogs is a cliched and limited, yet fun and silly, addition to the genre.

★★★☆☆

Festival News Green Film Festival in Seoul (제10회 서울환경영화제) Korean Festivals 2013 Reviews

May 10, 2013January 31, 2015

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GFFIS 2013: Opening Ceremony and Promised Land screening

The 10th Green Film Festival in Seoul

On a rainy Thursday the 9th of May, the 10th Green Film Festival in Seoul (GFFIS) got underway with an opening ceremony at Yonsei University’s Baeyang Concert Hall in Sinchon, Seoul. Hosted by duo Kim Tae-Hun (김태훈) and actress Park Hee-bon (박희본), the event sported several videos celebrating the festival’s now decade long run – including a quite sweet musical video called Have a Cup of Tea, or See a Film! (차라도 한잔, 영화도 한편!) helmed by renowned director Kim Tae-yong (김태용).

Important politicians and policy makers, including Mr. Park Jae-dong, Mr. Yoon Seong-gyu from the Ministry of Environment, and Chairman of the Board of the Korea Green Foundation Mr Lee Se-jung all gave welcoming speeches regarding the importance of the festival and of ecological awareness in general, and their comments were warmly greeted. This was followed by an opening declaration by Mr. Kim Won, the Chairman of the Organizing Committee, who then brought actor Ji Jin-hee on stage to present him with a small plant as part of his acceptance in becoming the latest eco-friend of the festival.

Yonsei University’s Baeyang Concert Hall hosted the opening ceremony

Legendary festival programmer Kim Dong-won was in attendance

The hosts begin the ceremony

Actor Ji Jin-hee accepts his award as an eco-friend

Director Kim Tae-yong’s short film was a fun opening to the festival

The hosts and director Kim discuss the film and the festival

After a short interval, everyone was again seated for the opening film. Gus Van Sant’s Promised Land , which re-teams the director with star Matt Damon after the critically acclaimed Good Will Hunting, sees a duo from an energy company attempt to buy land in the country in order to harvest the natural gas beneath. Yet the residents become concerned due to the process of ‘fracking’, in which chemicals are pumped into the Earth to get the resource, making the prospect a tough sell. The film was very well-received by the audience, and the film itself is a very apt opening due to the debates involving nature, community, big industry, and money. Please see below for the review.

Opening Film

Promised Land

Promised Land – 6/10

Promised Land is, in many ways, a great film to open the festival with. The story sees Steve (Matt Damon) and Sue (Frances McDormand) as workers for Global, a giant energy conglomerate who wish to obtain the natural gas residing under a farming community in Pennsylvania. Few actors do ‘everyman’ as well as Matt Damon, and that charm is present throughout the film as he is simply a good guy trying to do the best job he can. Unfortunately that job is to buy the land out from under the people, and his naivety in this regard is perplexing as it’s quite obvious what the ramifications are from the start. To reinforce the point director Gu Van Sant features plenty of establishing shots of the countryside to emphasize what’s at stake, making Promised Land a very attractive film throughout. Despite the quite serious subject matter the narrative is often comedic, featuring some real laugh-out-loud moments as Steve and Sue continually face obstacles ranging from school teachers to the weather. Steve’s journey is an interesting one as he is torn between being a man with working class roots and his desire for (financial) success, although his reasoning isn’t explored nearly enough. Furthermore the narrative is far too ambitious as it attempts to cover too much in the running time, and in doing so lacks any real heart or emotional power. The inclusion of a love interest for Steve tries to address the issue, but she is often jettisoned in favor of returning to the environmental debate. Promised Land is a good, solid film and certainly one of the better dramas to deal with environmental issues, yet the curious lack of heart make the film a thought-provoking, but somewhat emotionless, endeavour.

Festival News Green Film Festival in Seoul (제10회 서울환경영화제) Korean Festivals 2013

May 10, 2013January 31, 2015

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WFFIS 2013: Muse With A Movie Camera and Queer Rainbow

The 15th International Women’s Film Festival in Seoul

With a focus on exploring female issues through cinema, the Women’s Film Festival in Seoul has constructed several different categories in which to emphasise the concerns women face in contemporary society. Previously the New Currents, as well as The Coming of Age in Asian Women Filmmaking and Violence Against Women have been discussed, yet within this feature three different areas are explored. Actress, Muse With A Movie Camera is, as the title suggests, regarding women who have chosen to go behind the camera and direct. The 3 Korean films within this area feature quite diverse work, from high-budget thriller to low-budget short. Queer cinema is acknowledged in Queer Rainbow: Queer x Feminism, although unfortunately there’s only one Korean film exploring such gender and sexuality issues. Finally, Open Cinema is concerned with male directors who explore or represent women’s rights or interests, expanding the representation of women on screen. While there’s just one Korean film in this category, it’s a sublime documentary and one that eloquently fits the goal of broadening women’s issues in cinema.

Actress, Muse With A Movie Camera

The Knitting (뜨개질)

The Knitting (뜨개질)

Director: Yoon Eun-hye (윤은혜)

Synopsis: Superstar actress Yoon Eun-hye helms short film The Knitting, a drama about a woman struggling to cope following a break-up. Seeking solace through knitting, the memories of the past love prove hard to erase.

The Peach Tree (복숭아 나무)

The Peach Tree (복숭아 나무)

Director: Ku Hye-sun (구혜선)

Synopsis: Released in 2012 after receiving its premiere at the Busan Film Festival in 2011, The Peach Tree tells the story of two twin brothers who fall in love with the same woman. While it might initially sound cliched, the narrative takes on a new twist as the twins were born conjoined, sharing the same body, yet have quite different personalities. With lots of symbolism involving the nature of family and the titular peach tree, the romantic drama resonates strongly. See below for the trailer:

Perfect Number (용의자 X)

Perfect Number (용의자 X)

Director: Pang Eun-jin (방은진)

Synopsis: Based on Japanese author Keigo Higashino’s novel The Devotion of Suspect X, Perfect Number is the second film by actress-turned-director Pang Eun-jin following Princess Aurora. The thriller depicts a woman who kills her ex-husband following a violent assault, and the gifted mathematician living next door who helps her conceal the crime from the authorities. The film was quite successful when released last year. See below for the trailer:

Queer Rainbow: Queer x Feminism

To Become 2 (2의 증명)

To Become 2 (2의 증명)

Directors: Sui (스이), Kay (케이)

Synopsis: The only queer entry in the category explores the life of a middle-aged woman preparing to undergo gender correction treatment. Yet she continually faces obstacles by those around her.

Open Cinema

My Place (마이 플레이스)

My Place (마이 플레이스)

Director: Emmanuel Moonchil Park (박문칠)

Synopsis: Winning the Audience Award at the 2013 Jeonju Film Festival, My Place is a wonderful documentary that explores notions of family and women’s rights. Director Park has crafted a loving film based around his sister’s pregnancy. Recommended.