Top 10 Korean Films of 2018

hy 2018.0012018 was quite a bizarre year for Korean cinema.

The year began much like any other. The first few months of the year were typically dedicated to family-friendly fare. News of Korean films that were invited to Cannes Film Festival arose. And then…well, everything seemed to fall flat.

One by one, the big tentpole films of the year arrived in cinemas and were greeted by less than stellar reviews and even less interested audiences. This was particularly surprising given how high profile many of the projects and talents involved were, but the negative word of mouth that seemingly accompanied each release was quick to spread and in Korea, the power of WOM has no equal. That said, such movies still generally performed well at the box office, thanks in no small part to the screen quota they occupied.

It fell to the mid-sized and independent films to bolster the year and as always there were some welcome additions that enjoyed healthy box office success. Prioritizing story and character over the luxurious production values of their blockbuster counterparts is a common feature but was even more apparent this year, and it was largely these films that captured the attention of cinemagoers.

While not the strongest of years, there are still some highlights to look out for. Here are Hanguk Yeonghwa’s top ten Korean films of 2018.

No. 10 – Between the Seasons (계절과 계절 사이)

betweenOne of the most surprising discoveries at Busan Film Festival was director Kim Junsik’s charming LGBTQ story Between the Seasons. The story follows cafe owner Hae-soo, a woman running from a difficult past, who becomes friends with creative high schooler Ye-jin. Through their burgeoning relationship the story explores gender, sexuality and love in contemporary Korea with real sincerity while never succumbing to trite melodrama. Oh Ha-nee in particular provides a moving performance as adolescent Hae-soo. Between the Seasons is a delicate and thoughtful story about tolerance and identity.

No. 9 – Intimate Strangers (완벽한 타인)

intimateIntimate Strangers follows a group of old friends who gather for a dinner party and decide to play a dangerous game – throughout the night, everyone’s phone calls and messages must be available for all to hear. Based on the 2016 Italian film Perfect Strangers, Intimate Strangers flits between comedy and drama as more and more secrets emerge, as the fascinating premise forces everyone to question their relationships, shared histories, and beliefs. Actor Yoo Hae-jin once again shines as a bad husband who slowly begins to change as revelations arise.

No. 8 – Be With You (지금 만나러 갑니다)

beA delightfully entertaining melodrama, director Lee Jang-hoon’s Be With You is certainly one of the most endearing tales of the year. Adapted from the Japanese film and novel of the same name, the influence of J-cultural storytelling is clear throughout yet is filled with Korean charm. Son Ye-jin is in typically great form as a wife/mother who has lost her memory, while the romantic backstory and family dynamic are especially alluring. Although Be With You doesn’t reinvent the genre in any way, the film is a lovingly made melodrama that pulls the heartstrings in all the right ways.

No. 7 – Dark Figure of Crime (암수살인)

darkBased on the shocking true story of unsolved murders in Busan, Dark Figure of Crime is a fascinating tale both for the onscreen shocks and the complicated production history. The film follows a detective who investigates cold cases, but the criminal responsible – although confessing to everything – is especially unreliable and as such, discovering the victims proves an arduous task. The police too dislike their old cases being investigated, and the apathy towards the high numbers of people missing and/or murdered is one of the real shocks of the film.

No. 6 – Believer (독전)

believerDirector Lee Hae-young’s Believer puts a stylish Korean spin on this remake/reimagining of Hong Kong director Johnnie To’s Drug War. Excess is the name of the game, as the story features wild narrative twists and flamboyant characters as the cat-and-mouse crime caper escalates. Production values are particularly lavish (as with the director’s previous film The Silenced), while the suspense-filled confrontations are real highlights. Solidly entertaining throughout, Believer is certainly 2018’s most enjoyable gangster movie.

No. 5 – Little Forest <리틀 포레스트>

littleOne of the surprise hits of the year was undoubtedly director Yim Soon-rye’s Little Forest. Adapted from the Japanese original, the film sees a university student become frustrated with city life and return to her hometown where she rediscovers a passion for cooking using her mother’s recipes. Little Forest became particularly popular among young Koreans (who themselves deal with extraordinary stress due to academic pressure and unemployment anxieties), and it’s easy to see why – the tale is a quietly understated expression of self-discovery and friendship, with the ever-charismatic Kim Tae-ri and perfectly presented national dishes beguiling audiences.

No. 4 – Herstory <허스토리>

herstoryThe tragic story of Korean ‘comfort women’ – Korean women forced into sexual slavery for Japanese troops – is a poignant subject that often appears on screens big and small. The latest is Herstory, based on the true events of a group of women from Busan who sought to take the Japanese government to court for their role in the atrocities. Helmed by director Min Kyu-dong, Herstory is a powerful testament to the strength and resilience of the women who refused to give up despite overwhelming pressure both at home and abroad. The film also boasts a powerhouse performance by the almost unrecognisable Kim Hee-ae who is wonderfully charismatic as a no-nonsense businesswoman determined to see Japan publicly acknowledge war crimes, and whose determination drives the events forward.

No. 3 – House of Hummingbird <벌새>

houseA delightful discovery this year was House of Hummingbird, the stand-out film at the Busan International Film Festival. Director Kim Bo-ra’s debut feature is the coming-of-age story of youngster Eun-hee, who struggles with identity issues while also attempting to navigate the confusing relationships that exist around her, notably within her dysfunctional family. Told with acute sensitivity and a keen feminist eye, director Kim has constructed a quiet yet assured story of adolescence that emphasises the difficulty in connecting with others and the frustrating discrimination young women experience.

House of Hummingbird will next appear at Berlinale in 2019 in a newly edited form and will likely hit the festival circuit throughout the year, and is certainly one to watch out for.

No. 2 – The Spy Gone North <공작>

spyPremiering Out of Competition at Cannes and based on real life events, The Spy Gone North is a taught espionage thriller by director Yoon Jong-bin. Boasting exquisite production design throughout, Spy generates suspense via impressive dialogue scenes and narrative twists rather than action-orientated fare, with the appearance of certain (in)famous individuals and historical situations adding significant tension to the proceedings. Amazingly, while the running time is over 2 hours Spy is consistently engaging while also offering a fascinating insight into the complex political corruption on the peninsula.

No. 1 – Burning <버닝>

burningDirector Lee Chang-dong made a triumphant return to cinemas after an 8 year hiatus with Burning, a powerful and resonating drama-thriller about disaffected Korean youths.  As with most of director Lee’s films, multiple viewings are required to unlock the sheer majesty and depths within the story as the narrative is so focused on metaphor and irony, as well as providing keen social commentary. This is arguably why Burning has proved somewhat divisive amongst audiences, as the aesthetics require serious engagement. Performances are phenomenal throughout with Yoo Ah-in providing a career-best highlight, Steven Yeun masterful in conveying the entitlement and boredom of Gangnam’s elite, and newcomer Jeon Jong-seo excelling as the innocent-yet-rebellious Hae-mi.

Aside from premiering In Competition at Cannes, Burning has also has the distinction of appearing on the shortlist for Foreign Language Film at the Academy Awards, the closest any Korean film has come to an Oscar nomination. Rightly so – Burning is the closest Korean cinema has come to producing a modern classic for quite some time, and is wholly deserving of the attention.

Top 10 Korean Films of 2017 

Top 10 Korean Films of 2016 / Top 10 Korean Films of 2015

Top 10 Korean Films of 2014 – Most Memorable Moments of 2014

Top 10 Korean Films of 2013 – Most Memorable Moments of 2013

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Top 10 Korean Films of 2017

Screen Shot 2017-12-31 at 9.55.52 AMWhile the films released throughout any particular year are indicative of a country’s identity, for Korean cinema in 2017 the exploration of political and social issues were especially revealing of the cultural shift that has arisen in the wake of Park Geun-hye’s presidency.

The political upheaval was echoed through several historical films/documentaries focused on past atrocities, democratization, and the relationship with North Korea. This in turn has inspired considerable – and often heated – debate between the right and left, as well as resulting in plenty of tears at the multiplex.

In truth, 2017 was not an especially strong year for K-cinema (and when compared with 2016 this seems even more the case), yet there were a number of releases that were bold, provocative and pulled at the heart strings. The titles contained in this list are from films that were seen for the first time either through nationwide release or at film festivals throughout the year.

No. 10 – The King <더 킹>

The King

Released way back on January 18th, The King stylishly depicts the dark underbelly of corrupt politicians and law-makers, and their collusion with gangsters to achieve power. Director Han Jae-rim (The Face Reader, The Show Must Go On) conducts all the power-grabs, betrayals and violence with a playful relish that is consistently entertaining, crafting likeable anti-heroes in the mould of gangster epics such as Goodfellas in his peak-behind-the-curtains tale of corruption.

No. 9 – The Battleship Island: Director’s Cut <군함도: 감독판>

BattleshipThe Battleship Island was intended as the big blockbuster of 2017, yet as soon as the theatrical cut was released it proved particularly divisive. The Director’s Cut, which appeared at the Busan Film Festival in October, improves things. It’s a big entertaining blockbuster high on production values and spectacle, with director Ryoo Seung-wan (Veteran, The Berlin File) bombastically helming the tragic story with confidence. Battleship Island: Director’s Cut is also notable for depicting some Koreans as pro-Japanese during the war, something that would have been unthinkable until recently.

No. 8 – Midnight Runners <청년경찰>

Midnight

Seemingly coming out of nowhere, Midnight Runners was easily one of the most fun K-films of the year. Frequently laugh-out-loud hilarious, director Kim Joo-hwan’s story of two socially inept police cadets who stumble onto organised crime is far more fun than it has any right to be. The gags come thick and fast while the kinetic action set pieces are greatly entertaining, yet the film also has real heart as the bonds of friendship and the injustices suffered by runaways are depicted.

No. 7 – The Outlaws <범죄도시>

OutlawsAll hail Ma Dong-seok. Another hugely entertaining action-comedy that came out of left field, action-comedy The Outlaws sees the incredibly charismatic Mr. Ma as a tough cop battling against Chinese gangsters. Director Kang Yoon-sung’s impressive debut was a surprise hit upon release thanks to strong word of mouth, earning just over $52.7 million at the box office (KoBiz). Featuring great humour, adrenaline-pumping action and high stakes, The Outlaws cements Ma Dong-seok’s credentials not only as an action star but as leading man material.

No. 6 – Blue Butterfly Effect <파란나비효과>

BlueWinner of the Documentary Award at Jeonju Film Festival, director Park Moon-chil’s Blue Butterfly Effect follows the escalation of tension as the THADD missile system is forcibly positioned within a small farming community. The film brilliantly captures not only the political strife surrounding the issue but also the manner in which the protest movement is formed from grass roots through to a force to be reckoned with. Criminally under appreciated upon release, Blue Butterfly Effect offers great insight into the nature of Korean political unrest.

Top 10 Films of 2017 – No. 5~1

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Top 10 Korean Films of 2016

Top 10 Korean Films of 2015

Top 10 Korean Films of 2014 – Most Memorable Moments of 2014

Top 10 Korean Films of 2013 – Most Memorable Moments of 2013

Film News

Memories of the Sword (협녀, 칼의 기억) – ★★☆☆☆

Memories of the SwordMany years ago, a peasant uprising led by the legendary 3 Swords goes awry when Deok-gi (Lee Byung-hun) betrays the band of warriors by aligning with the corrupt king and murdering Poong-chun (Bae Soo-Bin). Distraught, Seol-rang (Jeon Do-yeon) flees with Poong-chan’s infant daughter Hong-yi, vowing revenge. 18 years later, Hong-yi (Kim Go-eun) has become a master swordsman thanks to the tutelage of the now-blind Seol-rang, and upon learning of her tragic history embarks on a quest to avenge her father.

Hong-yi prepares to test her skills

Hong-yi tests her skills against the military’s finest warrior

Memories of the Sword is perhaps best described as a Korean attempt at the wuxia sub-genre, a particularly bold undertaking by writer/director Park Heung-sik considering the its very Chinese origins and the quality of titles to emerge. To his credit, Memories of the Sword is a handsomely shot film and often features beautifully composed sequences as characters interact with stunning natural landscapes. The film owes a huge debt of gratitude to cinematographer Kim Byeong-seo as he employs wuxia traits to make a visually engaging and stylised piece of work that is rare in K-cinema.

Yet Memories of the Sword falls apart due to its highly convoluted plot and poor narrative structure. Attempts to create melodrama and intrigue between characters quickly become tedious as the relationships and shared histories presented are laborious to endure, while big reveals that could have injected tension into the story are haphazardly divulged. As such, it’s often difficult to tell whether Memories of the Sword is a reverential wuxi undertaking or a parody of the genre.

MotS

Blind master Seol-rang perfects her swordplay

Both Jeon Do-yeon and Lee Byung-hun are without a doubt two of the most talented actors in Korean cinema, and it’s a genuine delight to see them interact on screen together. Jeon Do-yeon in particular stands out in Memories of the Sword as she injects a passionate intensity and humanity into Seol-rang, an impressive feat given the character is so thread-bare. Kim Go-eun is also a great talent as witnessed in A Muse, yet here she appears to be in completely different film to her co-stars as she overacts her way through scenes with youthful glee.

In terms of action, no one fairs especially well when it comes to the martial arts sequences and wire-work essential to the film. The choreography is competent but generally uninspired, failing to generate the required investment to make the thrills riveting viewing. While watching it’s impossible to not recall superior examples of the genre – notably Hero and House of Flying Daggers, from which Memories of the Sword appears to take so much influence – and wish to be watching them instead.

MotS1

Villainess Deok-gi lusts for power

Verdict:

Memories of the Sword is visually impressive Korean attempt at the wuxia sub-genre, yet aside from a selection of beautifully composed scenes the martial arts adventure falls flat.

★★☆☆☆

 

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21st Bucheon Fantastic Film Festival to Honour Jeon Do-yeon

Poster for 'Contact, JEON Do-yeon' presented by the 21st BIFANAcclaimed actress Jeon Do-yeon is to be honoured at the 21st Bucheon International Fantastic Film Festival (BiFan) this year, in celebration of her 20 year career that began with Contact back in 1997.

Entitled ‘Contact, Jeon Do-yeon,’ the special program is dedicated to the revered actress and will feature highlights from her incredible filmography, including Secret Sunshine – for which she won ‘Best Actress’ at Cannes Film Festival – tense drama The Housemaid, gangster/action film No Blood, No Tears, time-travel drama My Mother, The Mermaid, period-actioner Memories of the Sword, thrillers Countdown and The Shameless, and more to be announced.

In addition, BiFan will also hold a press conference, a special Q&A between Jeon Do-yeon and the audience, an exhibition of the posters in which she starred alongside stills of the famed actress, and an exclusive collectors book for fans.

Jeon Do-yeon is undoubtedly one of the most talented – and internationally celebrated – artists in Korean cinematic history, and as such the program is a great boon for audiences and the festival alike, allowing fans old and new to revisit her extraordinary filmography.

BiFan will run from July 13th ~ 23rd.

Official Poster of the 21st Bucheon International Fantastic Film Festival

Festival News Uncategorized

Q&A with director Kim Jong-Kwan – “There is something appealing in writing from the female point of view”

kimjongkwan

Director Kim Jong-kwan

Director Kim Jong-Kwan is well-known to fans of independent Korean cinema. A graduate of the Seoul Institute of the Arts, his short film How to Operate a Polaroid Camera is considered a classic Korean short film. Last year he had not one but two features premiere at the two biggest film festivals in Korea, respectively – Worst Woman at the Jeonju International Film Festival in the competition section, while The Table was part of the Busan International Film Festival’s panorama of contemporary Korean cinema. One of the rising stars of Korean film – actress Han Ye-ri (Haemoo, Kundo: Age of the Rampant) – is in both, while beside her in The Table appears another popular actress – Jung Yu-Mi (Train to Busan, The Himalayas).

Since both movies were among my favorites in 2016, I was more than happy when director Kim found some time in his busy schedule to answer my questions. And since most of his movies are told through the eyes of women, it was only logical for my first question to be about his choice of main characters.

 Why the main characters in your movies are usually women?

I find it easier to write about a main female character. Maybe there is some feminine side in me – or so I have been told by people. My writing also reflects my literary taste: I seem to have read mainly novels either with women as protagonists or written by female authors. So I think that’s one of the reasons why creating female protagonists has become easier to me. Apart from that I think that the way I see the world and how I write about the relationships between people or the things that upset me in our society can be relayed better through the eyes of a woman.

The Table 2

After working together on a short film and the feature Worst Woman, actress Han Ye-Ri appears also in the director’s last film The Table.

So would you say that you know the heart of a woman?

I am not sure about that… Definitely there are things I don’t know about women. After all I am a man. But I think there is something appealing in writing from the female point of view. Women have both weak and strong sides in themselves. And I find that it is interesting to write about the situations when those two sides collide. Besides, in our society women are in a weaker position than men. So I seem to be more interested in writing about their struggles.

Ever since your first movie you have been making films about the relationships between men and women. What is the reason for that?

I like melodrama as a genre. Besides, I remember when I first had to shoot short films back in film school, I had to come up with stories that could be done on a really low budget. So writing scripts with 2 or 3 characters and concentrating on what is going on inside the relationship between a man and a woman was more comfortable.

Do you want to continue making melodramas?

Not necessarily. I would like to continue talking about the irony in relationships between people and about love. But I also want to explore in general what makes people sad, afraid, lonely… and that can be done through different genres. I’m interested, for example, in making a criminal drama.

WW

In Worst Woman, relationship strife is the source of both comedy and drama.

When you go to the cinema to watch a movie, what kind of film do you usually watch?

Depends on my mood. Sometimes when I want to get rid of stress, I would watch something that is easy to take in, that doesn’t make me think too much. But when I am about to start a new project, I look for movies that can inspire and motivate me.

There are film people who completely reject the idea of watching blockbuster movies. They don’t regard them as “art” or as “cinema.”

Movies are both art and industry. Blockbuster movies are the ones that most people enjoy and have stronger commercial value. So it is only natural to make them. It’s impossible not to have them. But! If there were to be only such movies, it would be kind of “too lonely.” There must be movies that explore other themes. But also, it is not possible only to have independent art films. It is hard to make them profitable.

Is there communication or cooperation between Korean independent and commercial filmmakers?

There are people who start by making independent movies and then go into big, commercial projects as well as the other way around.

We have big budget movies with high artistic values such as The Handmaiden by director Park Chan-Wook, and we have low budget independent movies like Dongju: Portrait of a Poet by director Lee Joon-Ik (who also made blockbuster The Throne) that became a commercial success.

Of course there are people who identify themselves as only independent film directors. But most filmmakers, including me, don’t carry with themselves the identity of “an indie film director.” When starting a new project, we write about a subject that is important to us. That “thing” can turn into both a blockbuster or an art-house film.

The Table 1

Actress Jung Yoo-Mi in a scene from the movie The Table.

You have worked on several occasions with the same actresses – Han Ye-Ri and Jung Yoo-Mi. Why is that?

I also like working with new actors and crew. On one hand if I work with the same people, I could go deeper in terms of film, but on the other hand my colors could blend into only one. Working with different people allows me to broaden up my spectrum, but working with the same ones allows us to get used to each other and there is some feeling of security in that.

But even if I cast actors I have worked with before I say to them not to act in the same way as before. For my part, I also try to cast them in films in which they can show a different side of themselves.

For example the first time I worked with Jung Yoo-Mi was in the 2004 short film How to Operate a Polaroid Camera. The next time we worked together was in the 2010 film Come. Closer. The character I entrusted her the 2nd time was so different from her 20 something personality – much more melancholic. Then in my last film The Table I showed her as quite a strong woman who faces her first love. I really like trying out things like that.

The first time I worked with Han Ye-Ri was also for a short film. Then we made Worst Woman together where she plays a woman who carries a kind of self-irony in herself but is also quite cool. In The Table the feeling is a bit different. There is irony in her part there too, but her character is more of a person who doesn’t feel guilt when lying.

When you are working with your actors, is it easier to give directions and communicate with female or male actors?

When working together, both sides – actors and directors – have to kind of match their style. But it’s not a matter of gender whether and how this will work out. It just depends on the person’s specificities, character. For me the most important thing is to have real conversations, to exchange views and ideas with my actors.

최악의 여자 스틸#1

Worst Woman ironically tells the story of a woman that is not ‘the worst’.

Finally, ever since I watched Worst Woman, I wanted to ask you why you chose that title since the Korean one is Worst Day?

When we presented Worst Woman at the Jeonju International Film Festival last year, I thought such a title, both in English and Korean, had some charm in itself. To the male characters in the film she might seem as the worst woman, but ironically I wanted to tell the story of a woman that is not ‘the worst.’ So while watching the movie, people would have the title in their mind and would constantly ask themselves “Why is she ‘the worst woman’?” But our marketing team thought that the audience might feel uncomfortable with that title since it carries some prejudice in itself. So in Korean we changed it to Worst Day. As for the English one, on one hand there were films with such title and also most of the people working on the film thought it just sounds better, so we left it like that.

 

Our sincere thanks to director Kim Jong-kwan for taking the time to answer our questions.

Huge thanks also to our good friend Song Tae-Eun for helping with the transcription of the interview in Korean.

Festival News Interviews/Q&As

Blue Butterfly Effect (파란나비효과) – ★★★★☆

Blue Butterfly Effect

When the Korean and American governments announce that the military THAAD (Terminal High Altitude Area Defense) system is to be located in the rural county of Seongju, residents quickly become alarmed. As the local citizens begin researching the issue further they become increasingly politically aware, ultimately organising protests against THADD that continue to grow in strength and number. Blue Butterfly Effect (파란나비효과) documents the protests against THADD, from its grass-roots origins through to the nationwide coverage the issue generated.

BBE

The protests grow throughout the province

Director Park Moon-chil, who debuted with the wonderfully sensitive and empowering My Place (2013), returns with an inspiring tale of protest in Blue Butterfly Effect and in doing so cements his status as one of the best documentary filmmakers currently working in Korean cinema.

Blue Butterfly Effect proves to be so engaging largely due to the central subjects at the core of the story, as housewives, farmers, seamstresses et al from the community come together to explain how they became aware of THADD, detailing the passion and outrage it generated that ultimately led to forming a protest movement. Such scenes are brilliantly executed, providing not only an informative piece on the nature of the issue but also an insightful commentary on protest culture within contemporary Korea.

Director Park wisely goes beyond purely representing their opinions of THADD however, as he delves into the subjects’ voting habits, regional identity, and the increasing political and historical awareness each member experiences, unveiling acute character development. No matter how big the challenges over THADD become, the film never loses focus of the personal dimensions of the conflict, making the story an intimate portrait of nationwide debate and virtually demands audience investment.

In documenting the manner in which the THADD protests and responses escalate, director Park goes where few filmmakers dare to tread in depicting the ‘dirty tricks’ employed by those in favour of the military technology. In presenting the ways local politicians change stance and ‘spin’ alternative narratives, the collusion between the government and big business, as well as featuring elitist prejudice – misogynistic comments, and the head of the Education Ministry’s comment that 99% of Koreans are “like dogs and pigs” – combine to produce a startling portrait of modern politics, one that taps into the zeitgeist of anti-conservatism sweeping the country following President Moon Jae-in’s inauguration.

BBE4

As politicians spin narratives, public outrage and peaceful protests increase

Verdict:

Blue Butterfly Effect is a powerful testament to the spirit of Korean people and the power of protest, as well as an important cultural text in its own right. Director Park Moon-chil again proves his talent as a documentarian to watch, for Blue Butterfly Effect is a film that, for current and future generations, and those interested in the politics of the peninsula, demands to be seen.

 ★★★★☆

 

Reviews

Yourself and Yours (당신자신과 당신의 것) – ★★★☆☆

Yourself and Yours (당신자신과 당신의 것)

Synopsis: When aspiring artist Young-soo (Kim Joo-hyuck) discusses his intention to marry Min-jung (Lee You-young), the idea is laughed at by a close friend (Kim Eui-sung). Clearly offended, Young-soo demands answers – and hears of the rumours that Min-jung has been meeting and drinking with different men around the neighbourhood. Deeply hurt, Young-soo confronts Min-jung about the rumours – all of which she denies – and following the fight she decides to leave. Young-soo desperately wants to make things right with Min-jung – but what is the truth?

Young-soo hears rumours his girlfriend is meeting other men

Notions of truth, jealousy and trust are playfully explored through director Hong Sang-soo‘s Yourself and Yours, with the film navigating such potentially dramatic material with the charismatic whimsy audiences have come to expect from the celebrated auteur. Whereas director Hong’s previous film Right Now Wrong Then explored the ramifications of truthfulness in a relationship, Yourself and Yours takes a markedly different approach. While Young-soo’s suspicions initially drive the couple apart, Min-jung is presented in the sequences that follow in completely different personas, seemingly not recognising past acquaintances and behaving erratically.

The film doesn’t provide any simple answers for the situations that arise – perhaps Min-jung has a disorder; perhaps the sequences are purely from Young-soo’s jealous mind – but that’s seemingly not particularly important as audiences are swept along the journey due to the quirky interactions and comedically awkward moments. What the narrative does appear to embrace is that control within a relationship is folly and that compromise is a necessity, while identity is a fluid construct that alters depending on how a person wishes to present themselves. Traditional answers are not the ultimate goal of Yourself and Yours, rather, it’s a charismatic journey of discovery and one that fans of director Hong will undoubtedly appreciate.

Min-jung meets writer Jaeyoung at a cafe, yet her behaviour is erratic

Verdict:

Yourself and Yours is a whimsical exploration of identity and trust within modern relationships, featuring charismatic performances by all involved yet particularly by Lee You-young. Those unfamiliar with director Hong Sang-soo’s work might be a little perplexed, but for the converted Yourself and Yours is real treat.

★★★☆☆

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