(no title)

The hysterical mother severs her son's penis, sparking a chain of events

January 30, 2014January 30, 2015

Moebius (뫼비우스) – ★★★☆☆

Moebius (뫼비우스)

The controversy that continually surrounds director Kim Ki-duk (김기덕) ultimately stems from his consistent explorations into the nature of sexuality, and the misogynistic representations that arise through them. Director Kim is clearly aware how such explicit sexual debates generate audience interest, as with each subsequent film he seemingly seeks to outdo himself by exploring ever-darker – and for many, disturbing – areas of desire and pleasure.

Incest appears to be director Kim’s current interest as, following on from his acclaimed and award-winning Pieta, comes Moebius (뫼비우스). Featuring zero dialogue, the film is an extremely literal Freudian interpretation of sexuality within the family unit. The story is interesting but far from subtle as the Oedipus complex, female hysteria and phallus appropriation is viscerally reenacted. Ultimately Kim’s film is intriguing to watch, yet Moebius lacks the depth and finesse of his prior work.

Pushed to breaking point by her husband’s (Jo Jae-hyeon (조재현) infidelity, the mother (Lee Eun-woo (이은우) arms herself with a knife and attempts to sever his penis while he sleeps. Foiled in her attempt, the mother then decides to punish their son (Seo Yeong-joo (서영주) instead, cutting off the boy’s manhood. After the mother runs away in shame, the father and son attempt to rebuild their lives and learn to experience pleasure through pain. However when the mother returns, their lives become increasingly fraught.

The hysterical mother severs her son’s penis, sparking a chain of events

Director Kim has never been most subtle of filmmakers, yet his work often contains interesting symbolism that alludes to the depth of his characters and/or the socio-cultural issues he explores. With Moebius, however, such sensibilities take somewhat of a back seat as Freudian theories are quite literally recreated on screen. This is acutely ironic as Freud’s work is often rooted within symbolic moments of everyday life, notably in this case the Oedipus complex and castration anxiety, yet director Kim seems unconcerned with such motifs and instead directs the actors to perform the frameworks physically. The result is a mixture of intrigue and horror, as ‘the monstrous castrating mother’ fulfills the promise of her title, while the themes of incest associated with the Oedipus complex become increasingly explicit. It’s thoroughly interesting to see Freud’s theories play out, however the absurdity of it all can occasionally be cringe inducing, or worse, comical.

Father and son become close through sadism

Roles with no dialogue are challenging at best, but with scenes such as the ones in Moebius it must undoubtedly be extremely arduous. Luckily all three principle actors perform convincingly. Lee Eun-woo is exceptional in her joint roles as an hysterical mother as well as a convenience store clerk. As the mother Lee Eun-woo conveys a powerful raw intensity that is simultaneously frightening yet attractive, while her vulnerability and inner strength as the clerk is touching. Teenager Seo Yeong-joo also performs admirably as the son who experiences horrific trauma. At 15 years old the role is quite a shocking one given the explicit scenes in which he is required, yet he does very well particularly when conveying the pleasure and pain from sadist acts.

Phallic appropriation abounds as the Oedpius complex plays out

Moebius (뫼비우스) is yet another powerful and disturbing exploration of sexuality from director Kim Ki-duk. In quite literally – and explicitly – interpreting Freudian theories on screen, director Kim has crafted a very interesting film yet due to the far from unsubtle adaptation the absurdity of it all can often be cringeworthy and/or comical. Lee Eun-woo is undoubtedly the breakout star of the film as she performs with incredibly intensity throughout as the monstrous jealous mother. Moebius is not for the faint-hearted.

★★★☆☆

Reviews

Mal-soon embraces her youth as Doo-ri, and lots of body comedy ensues

January 29, 2014January 30, 2015

— 2 Comments

Miss Granny (수상한 그녀) – ★★★☆☆

Miss Granny (수상한 그녀)

With the Lunar New Year approaching, comedy Miss Granny (수상한 그녀) attempts to take advantage of the holiday season by poking fun at the modern Korean family unit. Occasionally uplifting and humourous yet very much by the numbers, Miss Granny attempts to appeal to the broadest possible audience and as such combines a host of genres and cliches throughout its predictable narrative. Surprisingly however it all gels together quite well and, thanks largely to actress Sim Eun-kyeong, Miss Granny is light-hearted and mildly entertaining throughout.

Cantankerous granny Oh Mal-soon (Nah Moon-hee (나문희)) is an extremely stubborn and strong-willed old lady, still managing to get involved in fights despite her age. Yet the stress Mal-soon invokes upon her family puts her long-suffering daughter-in-law in hospital, and discussions arise as to whether a care home would be the best course of action. Depressed, Mal-soon visits a photography studio in an attempt to feel younger, but upon leaving the store she discovers she has miraculously de-aged. Taking on the new name of Oh Doo-ri (Sim Eun-kyeong (심은경)), Mal-soon runs away from home and begins to establish herself as a singer while her family and friends frantically search for the missing pensioner.

Strong-willed Mal-soon works in a coffee shop where she still gets in trouble

Miss Granny has been written very much for Korean audiences, and the comedy derives from sending up stereotypes associated with the elderly within the country. As the jokes are so culturally specific, Koreans (arguably together with Chinese and Japanese audiences) as well as those familiar with Korean culture will find the jokes quite amusing, but for others the humour could well be lost on them as Mal-soon blusters her way through a variety of comical situations.

The strength of the film lies in the tongue-in-cheek fashion of poking fun of the elderly. Korean grandmothers are well-known for their incredibly strong characters and straight-talking approach and director Hwang Dong-hyeok (황동혁) does well in creating laughs without being detrimental towards his central characters. The real comedy comes after the transformation however, as the 20 year old Oh Doo-ri continues to use her dominating personality when, according to Korean culture, younger generations should be much more humble. Scenes in which Doo-ri scolds a mother for having poor breast milk and talks opening about sexual matters are entertaining as she boldly confronts modern life. As these examples indicate, Miss Granny fully embraces slapstick and body-comedy for laughs, and fans of this style will find much to enjoy.

Mal-soon embraces her youth as Doo-ri, and lots of body comedy ensues

However, Miss Granny recycles everything audiences have seen dozens of times before. The film is incredibly similar to 200 Pounds Beauty – simply exchanging ‘obese’ with ‘elderly’ – with the cliches and predictability creating a simple and mild slice of entertainment. In doing so the story has mixed messages as it seeks to bypass elderly and female stereotypes yet wholly conforms to them, while the issues regarding what exactly is age-appropriate gets lost along the way. Furthermore, the use of the musical reality TV show as a way for the characters to achieve fame and find passion is ridiculously tiresome at this stage, and doesn’t really add to the underlying theme as it did with 200 Pounds Beauty.

The attempt to keep the comedy rolling also highlights the haphazard structure within the film, as Miss Granny generally moves from set piece to set piece, most jarringly when everyone suddenly appears in a water park for no apparent reason. Indeed, so many set-pieces, locations and supporting characters are juggled to mine as much out of the fantastical situation that the running time reaches roughly two hours, which is far far too long. Ironically however the best laugh is saved until last, which film and TV fans will undoubtedly enjoy.

As is often the case with Korean comedies such as these, Miss Granny employs a healthy dose of melodrama in attempting to entice audiences of all ages. Interestingly it works quite well within the context of the story, as montages of Mal-soon’s extremely difficulty life conveys not only Korea’s troubled past but also explains why the elderly are often so cantankerous. These scenes are unfortunately fleeting but poignant while they last.

Set pieces, such as a visit to a water park, provide laughs

Miss Granny (수상한 그녀) is a light-hearted and mild family comedy, one which pokes fun at the elderly in Korea in a fun, tongue-in-cheek fashion. Ultimately enjoyment of the film will depend on audience knowledge and experience of the elderly in Korea, as the humour mainly derives from stereotypes, slapstick and body comedy. The story is incredibly cliched and predictable although it gels together well, while the additional melodrama is fleeting but poignant while it lasts.

★★★☆☆

Reviews

The Jijon-pa clan shcked the nation with their killing spree and lack of remorse

January 11, 2014January 30, 2015

— 1 Comment

Non-Fiction Diary (논픽션 다이어리) – ★★★★☆

Non-Fiction Diary (논픽션 다이어리)

Director Jung Yoon-suk (정윤석) explores the terrible tragedies that occurred in Korea during the 1990s in his gripping and poignant documentary Non-Fiction Diary (논픽션 다이어리). Rather than a run-of-the-mill history film, director Jung has crafted an incredible exploration of the era that examines the role of crime and punishment in Korea, and the disturbing ironies that lie within.

His research takes the audience through some extremely controversial issues that range from the upper to the lower echelons of society, and it’s to Jung’s credit that he pulls no punches when exploring the roles of the politics, media and religion in doing so. In tying seemingly unrelated crimes together, Non-Fiction Diary is an insightful and inspiring documentary that alludes to the corruption in society without becoming a propaganda piece. As such the film is enlightening for both Korean and non-Korean audiences alike, and with receiving the Mecenat award at the Busan Film Festival and invitations to Berlinale amongst many others, Non-Fiction Diary is winning over audiences and critics with its powerful and provocative approach.

The Jijon-pa clan shcked the nation with their killing spree and lack of remorse

Non-Fiction Diary begins by exploring the case of the Jijon-pa clan in 1994, a group of countryside youths who were so frustrated and angry at Korea’s rapid embrace of neo-capitalism and the unbalanced affluence of citizens that they became serial killers. Their shocking crimes of kidnap, murder and cannibalism were compounded by their clear lack of remorse. The case itself initially appears relatively straightforward, yet director Jung instead chooses to focus on the national hysteria that gripped the nation. Simultaneously frightening, hilarious and absurd, the newsreels, talk shows and interviews that are compiled are incredibly revealing about 1990s Korean culture and the turbulent ideology of the era. Wisely steering clear of turning the documentary into a propaganda piece, the fascinating and provocative images and clips shown are genuine and convey the fear and paranoia towards young people at the time.

The real masterstroke of Non-Fiction Diary are the interviews with the police officers who worked on the case, as well as the prison warden who over-saw the clan’s incarceration. Their frank and honest discussions about the crime and resulting fallout are gripping throughout, adding an entirely new perspective on events that is continually illuminating. It is through them that the documentary takes an unexpected turn, one that moves from judgement into understanding, yet one with a solemn undercurrent with the knowledge that the clan face the death penalty. Exploring the death sentence also allows director Jung to delve into the role of religion, with the contradictions and hypocrisies providing even further depth to the investigation. The interviews are pivotal in grounding the events in reality and by conveying their conflicts – internal and otherwise – the film becomes ever-more insightful and compelling.

The collapse of the Sampoong Department Store highlighted corruption within the upper echelons of society

Non-Fiction Diary is also brilliant through examining other disastrous incidents of the era – the collapse of the Seongsu Bridge, and the devastation of the Sampoong Department Store collapse. The documentary takes a wonderfully activist stance in doing so, as after exploring the horrific events and the shocking loss of life, the issue of accountability again rises and makes a great counterpoint to the Jijon-pa clan’s punishment. In emphasising the contradictions, and outright corruption, within the law in regards to the rich and poor director Jung continually makes the case of the unfairness of society and the amorality that seemingly accompanied the embrace of capitalism, and the conclusions he reaches never stop being enlightening.

More controversially, perhaps, is the manner in which director Jung ties the events of the 1990s with the past and present. The decade saw the arrest of former presidents Chun Doo-hwan and Roh Tae-woo for their roles in the 1980 Gwangju Massacre, as well as key figures of the era involved in contemporary scandals. The manner in which such material is presented is consistently disquieting and infuriating, which ironically makes the documentary even more powerful.

Chun Doo-hwan (right) and Roh Tae-woo are arrested (and later pardoned) for their role in the Gwangju Massacre

Non-Fiction Diary (논픽션 다이어리) is a consistently provocative, insightful and gripping documentary. Director Jung Yoon-suk explores the role of crime and punishment in 1990s Korea with incredible vision, exploring the tumultuous events of the era through a great selection of TV footage and interviews that never stops being compelling. Yet the film’s real strength lies in the manner in which director Jung ties the events together and examines the disturbing ironies within, to produce a shocking yet enlightening dissection of Korean history.

★★★★☆

Reviews

The entry into the psychedelic classroom is a surrealist nightmare

January 5, 2014January 30, 2015

— 5 Comments

Hanguk Yeonghwa’s Most Memorable Moments of 2013

Beware – spoilers ahead!

One of the great things about being a fan of Korean cinema is that the industry is continually inventive. Whether in mainstream or independent film, Korean filmmakers constantly generate shocks and thrills aplenty, featuring some truly memorable moments that resonate long after the final credits have rolled.

As the title of this feature implies, 2013 was no exception. Shocking scenes frequently appeared throughout a variety of genres, and here are Hanguk Yeonghwa’s most memorable – disturbing, shocking, or just plain awesome – moments of the year.

Final warning – spoilers ahead!

Azooma (공정사회) – Dental Revenge

Disillusioned with patriarchal institutions, the ajumma prepares for her own brand of justice

There have been a number of films in recent years that have explored the serious crime – and soft punishment – of pedophilia in Korean society. Few however can attest to providing such violent revenge as indie thriller Azooma. Rejected by police as well as the child’s playboy father, the ‘ajumma’ (azooma) enlists the help of local gangsters to abduct the criminal and tie the pervert into a dentist chair. Employing her skills as a dental nurse, the ajumma exacts her bloody and brutal – and incredibly cathartic – vengeance by drilling the teeth to the bone without anesthetic. Even better however is that the surgery belongs to the child’s absent father, allowing mother and daughter to walk away and learn to heal.

Han Gong-ju (한공주) – The Internet Video

Gong-ju’s trauma apears on the internet for all to see

Heartbreaking and tragic, director Lee Su-jin’s break-out film centers on high school student Gong-ju who conceals an extremely traumatic event in her past. While hints continually suggest that she was sexually assaulted, the truth is even worse – she was gang raped by dozens of her peers. The depiction of the event is truly haunting. However, as the film reaches its climax, Gong-ju’s unaware friends finally learn the truth about her suffering as a video of the assault appears on the internet. Unable to move or speak, Gong-ju’s best friend can do nothing but watch in horror.

How to Use Guys with Secret Tips (남자사용설명서) – Dr. Swalski

Colourful Dr. Swalski provides the tips Bo-na needs to move ahead, to great comedic effect

One of the most vibrant and enjoyable rom-coms in recent years, How to Use Guys with Secret Tips is brilliantly original largely due to one character – the mysterious Dr. Swalski. In his audacious 1970s apparel, the doctor brilliantly gives advice on how to manipulate men to naive assistant director Choi Bo-na with superb comic timing, even appearing within her life when things don’t quite work out the way they should. With wonderful tongue-in-cheek wit, Dr. Swalski is a fantastic creation from the mind of director Lee Won-seok.

Intruders (조난자들) – The North Korean Spy

Suspicions rise but the culprit comes out of left field

Director Noh Young-seok’s (노영석) film about a screenwriter seeking solitude in the mountains is a quirky story, with the slow build of suspense brilliantly executed as the murdered bodies begin piling up and suspicions rise. When the survivors find a hidden basement full of victims tensions reach fever-pitch – until a short North Korean spy jumps out of a closet. Simultaneously hilarious and shocking, the spy displays director Noh’s dark-comic sensibilities and adds a surprising element in an otherwise straightforward thriller.

New World (신세계) – Battle Royale

Jeong Cheong viciously battles his way through assassins

Through gangster epic New World, Chinese-Korean wiseguy Jeong Cheong – superbly portrayed by actor Hwang Jeong-min – is little more than a loser, a joker more interested in fake goods than in cementing his position within the crime syndicate. That is, until a rival seeks to take him out of the running permanently. Surrounded by assassins, Jeong Cheong displays stunning ferocity as he battles for his life pummeling his adversaries into submission, culminating in a brutal knife fight in an elevator. And in the end, only one man is left standing.

Pascha (파스카) – The Abortion

Ga-eul must learn to endure the pain of loss

Busan Film Festival winner Pascha depicts the relationship between 40-something screenwriter Ga-eul and her 17 year old lover. The slow-moving indie drama presents their struggles to stay together, particularly after the news that Ga-eul is pregnant. Forced to have abortion by her family, the deeply depressed screenwriter undergoes the procedure. Yet as she leaves, something compels her to turn back and demand to see the remains. The controversial scene has divided critics, but the haunting image resonates long after the credits.

Snowpiercer (설국열차) – The Classroom

The entry into the psychedelic classroom is a surrealist nightmare

Director Bong Joon-ho’s epic sci-fi has several noteworthy moments, including the shattering of an iced-arm and discussing how babies taste, but the entry into the disturbingly bizarre school is so surreal it tops them all. After battling through dark and grimy carriages in an extremely bloody and violent revolution, the next door opens to reveal a disneyfied classroom on acid full of psychotic fervour. Alison Pill is phenomenal as the fanatical teacher, while the brainwashed students religiously chant the train driver’s name as if he is a deity. With exceptional work by production designer Ondrej Nekvasil, the classroom is a disturbing reminder of the power of bias education on impressionable minds.

The Terror Live (더 테러 라이브) – The General

The general’s hat is all that remains as Yoon becomes frantic

Newsroom drama The Terror Live was a big hit in Korea due to the open and frank exploration of corruption within the social elite, and the exploitation of workers. As reporter Yoon Yeong-hwa (expertly performed by Ha Jeong-woo) converses with the terrorist who destroyed a bridge live on air, a military general comes to the studio and joins the debate. The general rapidly makes the situation worse, goading the terrorist with lies and defamation building unbearable tension until a bomb in the general’s earpiece explodes splattering blood everywhere. A shocking moment, yet also a victory for exploited workers.

Film News

January 2, 2014January 31, 2015

— 5 Comments

Han Gong-ju (한공주) – ★★★★★

Han Gong-ju (한공주)

Han Gong-ju (한공주) is undoubtedly the best Korean film of 2013. Bold, unflinching, insightful and powerful, director Lee Su-jin (이수진) has crafted an exceptional film about serious social issues that exist within contemporary Korea. What makes the film such an exemplary piece of cinema is the manner in which such issues are conveyed. Through the experiences of traumatised teenage protagonist Gong-ju, her world opens to reveal a broad array of socio-cultural problems ranging from absentee parents to corrupt institutions, from high school bullying to mid-life crises, as she simultaneously attempts to reconcile with her own tragic past. Employing an impassioned sense of social injustice in conjunction with a skillfully balanced narrative structure, director Lee Su-jin evokes the spirit of a raw Lee Chang-dong which is mighty praise indeed.

Gong-ju attempts to start her life over, yet keeps everyone at a distance

For reasons unknown, high school student Gong-ju is sent to a new school far from her hometown. The extremely quiet yet polite student is constantly treated as a burden by teachers, parents, as well as her new carer – her teacher’s lonely single mother. As Gong-ju attempts to rebuild her life in new surroundings by learning to swim and taking on a part-time job, new friends emerge and discover her beautifully melancholy singing ability. Yet in revealing her talent, Gong-ju’s horrifying past catches up to her with disastrous results.

Treated as little more than a burden, Gong-ju attempts to start her life anew

Han Gong-ju is a rare gem and a stunning debut feature from director Lee, whose previous shorts Papa (2004) and Enemy’s Apple (2007) were both award recipients. The social issues that are explored throughout the film are not new in neither mainstream nor independent Korean cinema, but nonetheless are incredibly powerful and emotive due to the strength of the central protagonist alongside a gripping flashback structure. As the heart of the film, Gong-ju is a very complex character; melancholy yet passionate, distant yet likable, her tragic story is one of shocking trauma and inspirational strength. Indeed, it is Gong-ju’s courage that forces confrontation with further injustices – including a runaway mother and corrupt authority figures – that serve to make her an increasingly endearing and admirable young woman. Director Lee wisely employs editing to accentuate audience empathy, gradually revealing tidbits of information into Gong-ju’s elusive past until neither she, nor the audience, can hide from the truth any longer. In doing so director Lee not only conveys his skill as a storyteller, but also potently exposes the contentious role of parents in crime and punishment.

As Gong-ju, actress Cheon Woo-hee (천우희) gives an incredible performance. The role itself is subtle and nuanced, and she delivers wonderfully. Simultaneously innocent yet worldly-wise, Cheon Woo-hee conveys the agony of the troubled teenager mixed with a sense of hope and inner-strength that is staggering to behold. In lesser hands Gong-ju would be either cold and unlikable or overly pitiable, yet Cheon balances both realms effortlessly.

Gong-ju attempts to let people into her world, with disastrous results

Verdict:

Undoubtedly the best Korean film of 2013, Han Gong-ju is a rare gem of independent cinema. Director Lee Su-jin has crafted an extraordinary tale of a girl struggling to reconcile with a traumatic past, who courageously confronts further social injustices in her attempt to do so. Beautifully performed by Cheon Woo-hee, the actress balances the inner strength and turmoil of the character to produce one of the most emotive and powerful cinematic experiences of the year. Bold, insightful and heart-wrenching, Han Gong-ju is the must-see film of the year.

★★★★★

Busan International Film Festival (제18회 부산국제영화제) Reviews

December 26, 2013January 30, 2015

— 12 Comments

Hanguk Yeonghwa’s Top Ten of 2013

As 2013 draws to a close, so it becomes time to discuss the best releases from the Korean film industry from the year.

It’s been quite year for Korean film. According to the Korean Film Council the industry crossed over the 200 million admissions mark for the first time in history, averaging just over 4 films per person; recently released drama The Attorney (변호인), based on former president Roh Moo-hyun’s early career, broke the box office record for single day admissions in December attracting over 540,000 moviegoers upon opening; Bong Joon-ho’s Snowpiercer (설국열차), the most expensive film in Korean cinema history, was released to critical and commercial acclaim; and Moon Byung-gon’s Safe (세이프) won the short film Palme d’or at the Cannes Film Festival, the first time the award has been bestowed upon a Korean director.

But back to the issue at hand – the top ten. ‘Best of’ lists always feel somewhat disingenuous as it’s impossible to have seen simply everything to emerge from the industry over the past 12 months. This also unfortunately applies to this particular list, particularly in regards to films released over the past month. So, in the interest of full disclosure, here are some great films that could potentially have been included in the top ten had they been seen – Moebius (뫼비우스), Hope/Wish (소원), Way Back Home (집으로 가는 길), and The Attorney.

However, without further ado, let’s press on with Hanguk Yeonghwa’s Top Ten of 2013:

Joint 1st – Jiseul (지슬)

Jiseul (지슬)

While Jiseul premiered at Busan in 2012, it was officially released nationwide in 2013 and for that reason jointly takes the number 1 spot. Director O Muel’s breathtaking film about the 1948 Jeju Island ‘Uprising’ (or rather ‘Massacre’) is one of those rare films that transcends the medium into art. The stunning cinematography is exquisitely captured through the black and white tones, while the realism-inducing long takes convey the atrocities endured by the Islanders with palpable melancholy. Shockingly, Jiseul was not submitted as Korea’s entry for the Academy Awards (with the honour instead going to Juvenile Offender), a presumably political decision due to the negative manner in which the Korean military are portrayed – a genuine shame as Jiseul is one of the best Oscar contenders Korea has produced in quite some time. Nevertheless, director O Muel’s beautifully haunting tribute is an absolute must-see. (See the full review here).

Joint 1st – Han Gong-ju (한공주)

Han Gong-ju (한공주)

Han Gong-ju is without a doubt the best new film of 2013. Staggering powerful, heartbreaking and courageous, the film tells the story of high schooler Gong-ju who is forced to relocate to a new school due to a secretive event in her past. Director Lee Su-jin has crafted an incredible film that wonderfully captures many of the social issues in contemporary Korea, confronting the themes of selfishness and corruption directly and in doing so evokes a maelstrom of emotional resonance. It is no stretch to say that Han Gong-ju is like a raw Lee Chang-dong film, one full of maturity and awareness yet with added indignation. Staggeringly, the film is also director Lee Su-jin’s feature-length directorial debut and, should he continue to helm films of this quality, Korea will have a new auteur in the making.

2nd – Pluto (명왕성)

Pluto (명왕성)

Director Shin Su-won proves her win at Cannes for Circle Line (순환선) was no fluke with the release of the masterful Pluto. A former teacher before her venture into filmmaking, director Shin deftly employs her knowledge of the insanely-competitive Korean education system in exploring how students can become increasingly amoral in the bid for perfect grades and an all-important university placement. What makes Pluto so special is not only the examination of corruption within the system but also the character development as Joon – wonderfully acted by Lee David – gradually succumbs to violent ambition. (See the full review here).

3rd – My Place (마이 플레이스)

My Place (마이 플레이스)

The best kind of documentaries are the ones that serve to enlighten, yet director Park Moon-chil goes one better with My Place in that he too is on a quest for knowledge. Initially believing that his sister is somewhat irresponsible for wishing to be a single-parent, director Park attempts to understand his sibling by investigating her past, which in turn leads to startling discoveries about his entire family. Through exploring cultural and generational differences as well as revealing – and attempting to heal – family trauma, My Place is a wonderful testament to family and forces audiences to address how well they know their own relatives. (See the full review here).

4th – Snowpiercer (설국열차)

Snowpiercer (설국열차)

A pulse-pounding thrill-ride from start to finish, Bong Joon-ho’s Snowpiercer is a momentous sci-fi epic. Based on the French comic Le Transperceneige, the film depicts a world devoid of life due to global warming with the last remnants of humanity hurtling around the world on the perpetually moving train ‘snowpiercer.’ What makes the film so fascinating is the manner in which the class system is explored, examining the nature of revolution, the brainwashing inherent in education, as well as the potent symbolism laced throughout – particularly from Tilda Swinton’s brilliant channeling of Margaret Thatcher as the villainous Mason. Snowpiercer is also a triumph of production design, and ranks among the best science fiction films to emerge from the industry. (See the full review here).

5th – The Fake (사이비)

The Fake (사이비)

Brutally intense and profoundly disturbing, The Fake is a phenomenal indictment of the fraud that exists within society. The Korean title ‘Saibi’ is specific to religion, and potent symbolism abounds; the looming threat of a flood sends the local populace into a religious fervour as they compete for the ‘limited’ places in heaven. Interestingly director Yeon Sang-ho marries such weighty material with the generic conventions of the western, and the result is extraordinary – should the audience align with the fraudulent man of God, or the truthful-yet-devilish western anti-hero? (See the full review here).

6th – New World (신세계)

New World (신세계)

Taking a cue from Coppola’s The Godfather, director Park Hoon-jeong’s gangster epic New World is among the best examples of the genre in recent memory. As a screenwriter on I Saw The Devil and The Unjust director Park has experience in weaving bloodthirsty thrillers, and his vision in constructing a tale of vengeful gangsters attempting to fill a power vacuum is brilliant. The double-crosses and Infernal Affairs-esque clashes between men on both sides of the law are made all the more powerful with the stunning cinematography and visual finesse. (See here for the full review).

7th – Cold Eyes (감시자들)

Cold Eyes (감시자들)

A remake of Hong Kong action-noir Eye in the Sky, Cold Eyes is a vastly different adaptation set in the shimmering metropolis of Seoul. The slick thriller is incredibly entertaining not only for the great pacing and exhilarating cat-and-mouse chase sequences, but also for the wonderful casting. Han Hyo-joo, so often relegated to being a pretty love interest, is excellent as the bold, smart and independent rookie, while Jeong Woo-seong is great as the steely and manipulative villain. (See here for the full review).

8th – The Berlin File (베를린)

The Berlin File (베를린)

The Berlin File marks a genuine stage in evolution for director Ryoo Seung-wan. His previous films have typically been highly entertaining action-thrillers often serving to revere classic sequences of yesteryear; however with The Berlin File the high-octane set-pieces, kinetic camera movement and rapid editing combine to create his most exhilarating film to date. With an all-star cast featuring Ha Jeong-woo, Jeon Ji-hyeon, Han Seok-kyu and Ryoo Seung-beom, The Berlin File is one of 2013’s great genre films. (See here for the full review).

9th – How to Use Guys with Secret Tips (남자사용설명서)

How to Use Guys with Secret Tips (남자사용설명서)

2013 was full of cliched and generic rom-coms – which made How to Use Guys with Secret Tips even more refreshing. Criminally under-seen due to a release date alongside Miracle in Cell No. 7 and New World, director Lee Won-seok’s debut is simply bursting with colour, vitality, inventiveness, and most importantly – brains. Spinning the cliches upside down, director Lee continually pokes fun at modern masculinity as well as highlighting the sexism that exists in contemporary Korea in a uniquely humourous fashion, combining to produce one of the most enjoyable and downright fun rom-coms in quite some time. (See here for the full review).

10th – Lebanon Emotion (레바논 감정)

Lebanon Emotion (레바논 감정)

Premiering at the Jeonju International Film Festival, director Jung Young-heon’s Lebanon Emotion was far and away the most interesting and engaging drama to appear. Initially a potent tale of grief and despair, the film transforms into an otherworldly story of togetherness, revenge, and danger. Director Jung’s history as a cinematographer is apparent in every scene, featuring gorgeously haunting landscapes alongside some great character development and quirky humour. Bizarrely missing out on the top prize at JIFF, Lebanon Emotion was rewarded at Moscow by scooping the best director award, and he is certainly a talent to watch. (See here for the full review.)

Film News

Seoul Independent Film Festival (서울독립영화제)

November 25, 2013January 30, 2015

— Leave a Comment

SIFF 2013: The 39th Seoul Independent Film Festival 2013

Seoul Independent Film Festival (서울독립영화제)

Independent film lovers rejoice, for the Seoul Independent Film Festival will commence from Thursday the 28th of November, running through to the 6th of December.

Now in its 39th edition, SIFF 2013 will celebrate Korea’s independent film industry by showcasing the best examples from the year, and will primarily be held at the CGV theater in Apgujeong although screenings will also take place at Indiespace located in Gwanghwamun.

Film fans will also undoubtedly be interested to learn that many of the films due to be screened were previously shown at other big festivals including Jeonju, Busan, and the DMZ Docs film festivals respectively. As such SIFF 2013 presents a great opportunity to catch the years independent offerings before the end of the year.

Within the Competition – Features category are some great award winning indie films, that deftly tackle contemporary social issues in Korea. Highlights include director Park Moon-chil’s documentary My Place (마이 플레이스) which explores gender inequality and family issues; Han Gong Ju (한공주), a film concerned with teenage trauma; Non Fiction Diary, a documentary examining pivotal criminal events in the 1990s; and Shuttlecock (셔틀콕), a road trip drama concerned with teenage angst, greed, and (ir)responsibility.

Special Invitation – Features also contains some of the years best indie films. The plight of foreign brides in the countryside is examined in drama Thuy (안녕, 투이); Busan closing film The Dinner (만찬) depicts family and elderly concerns; documentary Tour of Duty (거미의 땅) explores the trauma of being a sexual slave during the Korean War; National Human Rights production If You Were Me 6 (어떤 시선) is concerned with citizens on the fringes of Korean society; and Busan award winner Pascha (파스카), which tackles age-related relationship issues.

For more details, including the screening schedule, please visit the official SIFF 2013 website here.

Festival News Korean Festivals 2013

October 16, 2013January 30, 2015

— Leave a Comment

DMZ Docs: The 5th DMZ Korean International Documentary Film Festival

The 5th DMZ Docs Film Festival

The 5th DMZ Korean International Documentary Film Festival – or DMZ Docs for short – is due to commence this Thursday the 17th of October and will run through to Wednesday the 23rd.

While the opening ceremony will take place at the DMZ as usual, the rest of the festival has been moved to Lotte Cinema in La Festa, next to Jeongbalsan Station, Ilsan.

DMZ Docs will feature 119 films from 38 countries during its run, all of which are divided within various programs bringing focus to social issues from around the world. There are three competition categories – International, Korean, and Youth – while the non-competition arena includes sections such as Global Vision, Docs For All! and Masters respectively.

Opening the 2013 installment of DMZ Docs will be Manshin: Ten Thousand Spirits (만신) by director Park Chan-kyong (박찬경), who has made quite a reputation for himself helming films such as Night Fishing (파란만장) and Day Trip (청출어람) alongside his brother Park Chan-wook.

For the official DMZ Docs festival trailer, as well as information on opening film Manshin, please see below.

Opening Film

Manshin: Ten Thousand Spirits (만신)

Manshin: Ten Thousand Spirits (만신)

Director Park Chan-kyong explores the life of shaman Kim Geun-hwa in Manshin: Ten Thousand Spirits (만신). Ever since the end of the Korean War, Korean culture has had a tumultuous relationship with the past and the present. In order to develop and establish the country as an economic powerhouse, traditions have often been swept aside in the ferocious adoption of capitalist ideology – shamanism included. Despite such oppression, shaman Kim has established herself as one of the country’s leading figures in the arena, earning the title of National Shaman. The film stars actresses Kim Sae-ron, Ryoo Hyoun-Kyoung, and Moon So-ri in the role of shaman Kim as the autobiographical story presents her complex and traumatic life.

For the full listing of all the programs and films due to take place at DMZ Docs, please visit the official website here.

Festival News Korean Festivals 2013

Tensions build as Tae-sik and Won-joon clash in the bid for superiority

October 15, 2013January 30, 2015

— Leave a Comment

Top Star (톱스타) – ★★☆☆☆

Top Star (톱스타)

Actor-turned-director Park Joong-hoon (박중훈) has crafted a highly polished and glitzy directorial debut with Top Star (톱스타).

The heavyweight actor – who has hit films including Haeundae (해운대), Radio Star (라디오 스타) and Nowhere To Hide (인정사정 볼 것 없다) in his back catalogue – has clearly exercised his connections within the industry as Top Star features an assortment of high profile names from Korean cinema.

Unfortunately however, while there is enjoyment to be had in watching the beautiful faces, lavish lifestyles and celebrity scandals, there is precious little substance beneath the glamour. Director Park has clearly aimed his debut at a broad audience and in doing so he has produced a competent, though unremarkable, film about the nature of stardom.

Diligent manager Tae-sik helps superstar Won-joon at every turn

Superstar Won-joon (Kim Min-joon (김민준) has it all – good looks, a career in film and television, an expensive lifestyle, and a beautiful girlfriend named Mi-na (So I-hyeon (소이현). Yet behind all the glitz and glamour, Won-joon is taken care of by an agency, particularly by diligent manager Tae-sik (Eom Tae-woong (엄태웅). Tae-sik’s adoration of Won-joon leads him to help cover up scandals and, in helping in one case of some magnitude, Tae-sik suffers great personal distress. Stunned by his selflessness, Won-joon grants Tae-sik a sizeable role in his latest television series and is happy to see his ambitions of becoming an actor finally materialize. Yet in discovering fame, Tae-sik begins to change, leading him into a rivalry with Won-joon.

One of the great benefits of having a veteran actor step behind the camera for Top Star is that the portrayal of the world of celebrity is convincing. The conversations and behind-the-glamour events clearly come from a person of experience, from discussions in limousines and public-relations meetings to relaxation at home portrayed with insight. Director Park does well in balancing the realms of stardom and downtime, conveying the former as merely attractive but shallow superficiality and working to build character in the latter. It generally works well, although the script routinely employs cliches and contrivances that have been utilised better before, as in 200 Pounds Beauty (미녀는 괴로워). Foregrounded, however, is the rivalry that develops between Tae-sik and Won-joon that occurs in both worlds, which is also where the more interesting events transpire.

Tensions build as Tae-sik and Won-joon clash in the bid for superiority

The initial friendship between Tae-sik and Won-joon is articulated well, as the manager idolises his talent by helping to cover up scandals with no questions asked. Yet the story does become somewhat absurd as Tae-sik suffers a great personal burden in order to provide an alibi for one particular scandal, one that stretches believability almost too far. As Top Star is clearly marketed towards family audiences, director Park omits psychological exploration of Tae-sik’s adoration, yet while it is arguably ‘dark’ material it is depth that is sorely required as the film is so concerned with his unstable personality. Still, sequences in which Won-joon advises Tae-sik on the merits of acting are enjoyable and humourous as their camaraderie deepens on the set of their TV show. Yet just as the story begins to get interesting the film jumps years into the future, bypassing all the fascinating moments that have transpired to trouble their relationship and instead placing audiences in the distressed middle period.

As such Top Star loses all momentum, and the film is forced to reestablish itself once more by reintroducing characters and their new situations. It’s an event from which the story never fully recovers and as the film once more sets up events and attempts to take a belated darker tone, they lack the potency they would otherwise have contained. Additionally the (again belated) inclusion of melodrama amongst all the protagonists is horribly cliched and detracts from the viewing experience. One of the major benefits of Top Star‘s second half however is the greater screen time afforded to actress So I-hyeon as TV producer Mi-na. The role is wafer thin and one-dimensional with So I-hyeon very much required to be just a pretty face, although the actress stretches the material as much as she can and is quite charismatic. Yet undermining everything is the manner in which the story wraps up, as it is far too neat and with little – if any – ramifications despite all the wrongdoing. Top Star is great in representing the glitz and glamour of the movie business but, try as it might to explore the nature of celebrity, the film crucially lacks any depth to do so.

Tae-sik’s longing for Mi-na and Won-joon’s life in general clouds his judgement

Top Star (톱스타) is a highly polished and glamourous directorial debut from veteran actor Park Joong-hoon (박중훈). The film attempts to explore the nature of celebrity as a talent manager turned actor desperately works to retain his fame, even creating a rivalry with his idol. As director Park aims Top Star squarely at family audiences however, he doesn’t delve into the psychology of his protagonists resulting in a film that is wonderfully glitzy, but lacking in any real depth.

★★☆☆☆

Busan International Film Festival (제18회 부산국제영화제) Festival News Korean Festivals 2013 Reviews

With a killer on the loose, the inhabitants must do whatever it takes to survive

October 14, 2013January 30, 2015

— Leave a Comment

Intruders (조난자들) – ★★★☆☆

Intruders (조난자들)

Suspense-filled and gorgeously picturesque, quirky thriller Intruders (조난자들) is director Noh Young-seok’s (노영석) second feature film following his critically acclaimed Daytime Drinking (낮술).

Appearing within the ‘Korean Cinema Today – Vision’ category at BIFF 2013 following a world premiere at Toronto, Intruders has been likened to Pekinpah’s Straw Dogs due to the similar themes of disquieting locals and a house under siege.

While it never reaches those heights, director Noh’s film is indeed a refreshing change of pace. The foreboding dark alleys of Seoul have been replaced with stunning winter landscapes, while the isolation and bizarre behaviour of everyone involved provides a vastly different form of thriller. However, with its uneven pacing and unsatisfactory third act, Intruders never quite manages to fulfill its potential and as such is an entertaining rather than genre redefining entry.

Screenwriter Sang-jin inspects his cabin the wintry countryside

Screenwriter Sang-jin inspects his cabin in the wintry countryside

In order to complete his screenplay undisturbed, writer Sang-jin (Jun Suk-ho (전석호) journeys into the remote countryside to stay at his boss’ cabin alone. Surrounded by snow-covered mountains and with the nearest town 30 minutes away, Sang-jin is certain he will finish his work before the deadline. Yet on the way he reluctantly befriends odd ex-con Hak-soo (Oh Tae-kyung (오태경) who is determined to form a relationship, while the arrival of young ski enthusiasts at the adjacent cabin complicate his plans further. More disturbing however are the hunters who stalk the surrounding area, creating a deep sense of unease. When Sang-jin discovers one of the young skiers has been murdered, a shocking chain of events are set in motion.

First and foremost, Intruders is an extremely attractive film. Director Noh frames each scene to make the most out the stunning country landscapes and the blanket white snow that engulfs it, and as such the film is consistently visually impressive. Locations also wonderfully evolve according to the context in which Sang-jin finds himself, as beautiful scenes suddenly become uncomfortable when awkward situations arise. It is remarkable how the isolated cabin changes from being a romanticised place of work to a source of terror, yet director Noh’s framing techniques and pacing succeed in slowly building a sense of foreboding that completely changes the atmosphere within the film. This is in no small part due to the quirky and downright weird characters that are introduced throughout the story, with the suspense and tension generated by their actions reaching palpable levels.

The arrival of local law enforcement only serves to complicate matters further

The assortment of characters within Intruders makes the film equal parts scary and darkly comic, as their unpredictable behaviour is constantly fascinating to watch unfold. Oh Tae-kyung is great as odd ex-con Hak-soo, genuinely leaving the audience wondering about his motivations through his ability to switch from overly-friendly to threatening in a heartbeat. Also within the mix are young and crude male skiers, a cop with a twisted sense of justice, and rugged hillbilly hunters whose disheveled appearance – coupled with their random gun shots in the wilderness – place everyone ill at ease. Only one character, that of the bitchy lone female skier, tends to ruin the story as she is so one-dimensional it’s continually frustrating. Her constant complaints and moans are initially amusing, but as the only woman in the script director Noh really should have elaborated her role further. Luckily however actor Jun Suk-ho is brilliant to watch as everyman Sang-jin. His reactions to the bizarre happenings and weird people around him are always compelling and entertaining, leading the audience through the minefield of weirdness as well as providing the story with central focus.

Yet for all the suspense and enjoyment, Intruders doesn’t quite manage to elevate itself into the realms it should. Director Noh has done remarkably well in constructing the premise but all too often he lingers on moments for too long rather than move to the next event. This is wonderful in terms of creating tension, yet these and earlier scenes could (or perhaps should) have been trimmed in editing to allow later events time to advance. Furthermore while plenty of clues and red herrings are subtly laced within the story, certain features really come out of left field that are simultaneously laughable and shocking. All these issues culminate in a finale that is quite underwhelming and lacking in satisfaction, a shame as for the most part Intruders is a thoroughly engaging and enjoyable film.

With a killer on the loose, the inhabitants must do whatever it takes to survive

Verdict:

Intruders is a wonderfully quirky tale of a screenwriter who ventures into the countryside yet gets more than he bargained for with the odd locals. Director Noh Young-seok’s second film is beautifully picturesque and consistently laced with dark humour throughout, with the bizarre situations the writer finds himself in compelling and entertaining. While the film never manages to capitalise on the great premise, for the most part Intruders is a fun, engaging and refreshing thriller.

★★★☆☆