Director Bong Joon-ho‘s Okja (옥자) is almost upon us. The highly anticipated science-fiction/drama is set to premiere In Competition at the Cannes Int. Film Festival on May 19th, before appearing on Korean cinema screens around June 28th – and across the world, thanks to Netflix.
The film tells the story of Korean youngster Mija and her best friend, the enormous hippo-esque animal Okja, who have lived peacefully in the mountains for the last 10 years. Yet when the Mirando Corporation abducts Okja to New York for their own nefarious schemes, Mija embarks on a quest to save her friend and bring her home.
Director Bong is no stranger to films of this nature, having helmed monster movie The Host and exploring the dark side of capitalism in Snowpiercer, however Okja looks set to be an altogether new animal. In recent interviews, director Bong has stated that, “Netflix guaranteed my complete freedom in terms of putting together my team and the final cut privilege, which only godlike filmmakers such as Spielberg get” (Sonia Gil; Variety). Such a statement is a cause for celebration, as well as – perhaps unintentionally – eluding to the difficulties director Bong had with The Weinstein Company for the final cut of Snowpiercer.
Okja has also courted controversy due to the Cannes Film Festival rules regarding theatrical distribution. French exhibitors are angry that certain films, particularly those from streaming services such as Netflix and Amazon, are not bound by the strict theatrical release rules that exits in France, prompting the festival to alter requirements for selected works from 2018. However at a press conference in Seoul director Bong and Netflix chief content officer Ted Sarados did not seem to mind the controversy, with director Bong stating, “I anticipate even more explosive talk about the film’s story itself,” he said, noting it could be seen as political satire, but also “my first love story – between a girl and an animal” and how we live with animals “as friends and family, and as food.” (Jean Noh; Screen Daily).
Director Bong Joon-ho‘s (봉준호) highly anticipated science-fiction epic Snowpiercer (설국열차) has been in some form of development since 2004 and, nearly a decade on and sporting a $40 million price tag, finally gets a release. Currently the most expensive Korean film ever produced, featuring an international cast, and with around 80% of the dialogue in English, the film represents quite a risk for CJ Entertainment. They need not worry however, as the futuristic thriller is a darkly brilliant and enthralling experience.
Based on the French comic book series Le Transperceneige, director Bong’s adaptation is a keen and intellectual exploration of humanity and the class system set within the confines of a train. Yet it is also a violent and visceral action thriller, as tensions boil over among the last vestiges of humanity with shocking brutality. While not perfect, as the lack of character development, often predictable twists, and unrefined CGI let the film down somewhat, Snowpiercer is still a veritable thrill ride and certainly one of the best films released so far this year – by Korea or Hollywood.
The class system on the train is kept in check by sinister matriach Mason
In the near-future, global warming has become such an issue that the governments of the world convene and agree to release a cooling agent into the atmosphere. The experiment is a colossal failure, as the attempt plunges the world into another ice age, killing all life on the planet. The last vestiges of humanity live onboard the perpetually moving train ‘Snowpiercer’, with the passengers designated by class; the affluent live in privilege in the front carriages, while the poverty-stricken live in the rear. Angry at the unfairness and squalid living conditions, Curtis (Chris Evans) – along with protege Edgar (Jamie Bell) and mentor Gilliam (John Hurt) – lead a revolution against sinister matriarch Mason (Tilda Swinton) in order to control the engine invented by Wilford (Ed Harris). Yet to do so they will need the help of security specialist Namgoong Minsu (Song Kang-ho (송강호) and daughter Yona (Ko Ah-seong (고아성) to unlock the gates.
Snowpiercer, arguably more than any of his prior films, reflects director Bong’s incredible visual and spatial prowess. Throwing the audience immediately into a period of revolution, director Bong conveys a world of dirt, squalor and confinement to wondrous effect. The dystopian arena is intensely claustrophobic and acutely portrayed as the camera weaves around the environment introducing the suppressed population, while the darkness removes any sense of hope. Such powerful atmospherics generate palpable tension as the corruption and hypocrisy of the class system are exposed, recalling classics such as Lang’s Metropolis (1927) as well as the contemporary economic situations in the west, which resonate deeply. Yet the real masterstroke of the clearly Marxist-inspired story lies in the journey to the engine. Each carriage door opened unveils a startling new layer of the hierarchy that leaves the revolutionaries – and audience – dumbfounded, and each is a triumph of design. Director Bong and production designer Ondrej Nekvasil have crafted unique and spectacularly bizarre worlds within each arena, from the sugary-sweet Disnified classroom through to a hellish costume party, each a stunning visual indictment of the social elite.
Each carriage within the train is stunningly realised and reveals a new level of the society
In bringing the worlds within Snowpiercer to life, the ensemble cast are terrific and perfectly suited for their allotted roles. Tilda Swinton stands out as she superbly channels Margaret Thatcher-esque conservatism into the character of Mason, while Alison Pill’s fanatical school teacher is great despite short screen time. On the Korean front Song Kang-ho is highly entertaining as junkie engineer Minsu, and is given some of the best in-jokes within the film particularly regarding untranslatable Korean curse words. Ko Ah-seong fares well as Minsu’s daughter Yona, although the story involving her character isn’t really given a chance to develop. Ultimately with so many quality performers within Snowpiercer there is little room for any character save Chris Evans’ Curtis to grow, however his subplot is predictable while speeches about the past would have provided greater impetus had they been shown and not told. As several narrative tangents are left unanswered, a director’s cut of the film would be a blessing indeed.
Yet this underdevelopment is primarily due to the breakneck speed in which the film advances. The whirlwind pace of Snowpiercer is simply incredible from start to finish as the revolutionaries battle to reach the front of the train, attempting to overcome the onslaught of obstacles and hostile environments they encounter as rapidly as possible. When things do slow down it is often detrimental to characters, forcing the audience to will them on further and as such the film is constantly engaging and compelling. Occasionally to reinforce the sense of speed, the train itself is portrayed speeding through the snow covered landscapes. While such scenes are wonderful in depicting urgency and momentum as well as global warming anxieties, they also highlight some quite unrefined computer imagery which detracts from their purpose.
However the sheer pace of Snowpiercer is astounding and, alongside the visually stunning and intellectual themes featured within, the sci-fi epic is a heart-pounding experience.
Snowpiercer plows through the snow covered landscapes
Verdict:
Based on the French comic book seriesLe Transperceneige, director Bong Joon-ho’sSnowpiercer is an enthralling viewing experience. The science-fiction epic about the last vestiges of humanity is a brilliant exploration of the unfairness of the class system, conveyed with stunning visual and spatial prowess throughout. The all-star international cast are perfectly suited for their roles, with Song Kang-ho and Ko Ah-seong also performing ably. The breakneck pace of the film results in little character development, yet when the themes, tensions and violence are so constantly riveting it is difficult to care. Simply put, Snowpiercer is a fantastic Korean sci-fi film.
Truth is, as the saying goes, stranger than fiction. Perhaps the cliche is best served when applied to the criminal classes, as events that would seemingly belong in the pages of Sir Arthur Conan Doyle or the films of Martin Scorcese are violently brought into ‘the real’, adding an incomparable shock value with the knowledge that criminal empires were actually built, and that victims genuinely suffered. More specifically, the notion of the serial killer has endeared itself amongst fans of the crime genre for the thrilling cat-and-mouse games played by the detective and murderer, but more so in attempting to piece together the depraved psychosis of the unhinged individual before another innocent succumbs to such unbalanced desires.
Memories of Murder (살인의 추억), director Bong Joon-ho’s (봉준호) incredible second film, is based on the true story of Korea’s first known serial killer who raped and murdered ten women between 1986 and 1991 – a case that is still unresolved. Memories of Murder is one of the most successful and prolific films to emerge from Korea and rightfully so, with superb direction from one of the country’s leading auteurs and an exceptional performance from lead actor Song Kang-ho (송강호).
In a small rural town surrounded by farmland, the naked and bound body of a young woman is found in an irrigation tunnel. Detective Park Doo-man (Song Kang-ho) is called to the scene, but all traces of evidence have been destroyed by the locals. Shortly thereafter, the body of another young woman is found, raped and murdered in the same fashion. With no leads, Doo-man and his aggressive partner Detective Cho Yong-koo (Kim Roi-ha (김뢰하) are tasked with finding the culprit, beating and torturing any suspects who visually conform to their idea of a serial killer. Their theories and methods of interrogation are rejected by intellectual Seoulite Detective Seo Tae-Yoon (Kim Sang-kyeong (김상경) who joins the search, but as the three detectives squabble and desperately cling to the loosest of hunches, and with the government too busy quelling the various uprisings throughout the country, the number of murdered young women continues to rise.
Detective Park Doo-man discovers the first victim
There is a tendency with crime-thrillers to reveal the bloodied and mutilated corpses of the victims for shock value, a tendency from which Bong Joon-ho wisely refrains and instead allows the horrifying true story to be at the forefront of the film. His vision in presenting the narrative is enthralling as he simultaneously conveys beauty and the macabre seamlessly – when Detective Park Doo-man visits the broad, expansive golden farmland in the initial establishing shot, mere moments later he is confronted with a corpse in a darkened, claustrophobic tunnel. The interplay between such oppositions, which have marked Bong Joon-ho as an auteur, continually explore the duality of the situation as light conflicts with darkness, the truth struggles against the veneer, and the lines between morality and immorality are blurred. As such, Memories of Murder contains some incredibly dark humour, such as the ramifications in fabricating evidence and the bizarre perversity that is unlocked in certain members of the populace when news of the murders spreads, adding a comedic edge that stops the film from becoming bleak but also conveys the turmoil and frustrations in attempting to catch a serial killer.
In addition to his interest in duality, Bong Joon-ho’s recurrent social exploration is rather blatantly laid bare and few are portrayed positively. The military government is too busy extinguishing public protests to provide resources; the public are too ignorant to understand they are destroying evidence; media outlets compound the situation further; and men are chauvinistic and sexist. By far the most damning indictments are reserved for the police force, as corruption and violence are commonplace. Detectives Park Doo-man and Cho Yong-koo have received very little education and their logic-defying hunches are simultaneously comedic yet disturbing, as Doo-man rehearses confessional speeches with suspects after Yong-koo has tortured them into submission. Both men humiliate the police force and make them a national embarrassment with their actions, as Bong Joon-ho initially portrays them as simpletons in need of a scapegoat. Intellectual detective Seo Tae-yoon fairs much better having received an education and training in Seoul, yet even he succumbs to the moral abyss due to the frustration with his peers and the lack of resources at his disposal. Bong Joon-ho creates a powerfully damning portrait of the era, yet the dark humour and the often unbelievably surreal events that transpire make the protagonists somehow likable as they themselves are attempt to create order within a society in chaos.
The detectives target anyone who fits their idea of a serial killer
Song Kang-ho, as Detective Park Doo-man, is superb and utterly deserving of his Grand Bell Best Actor Award for the role. Park Doo-man is a bullying fraudster, a corrupt tyrant, yet amazingly is a compelling and charismatic protagonist. His rudimentary upbringing and attitude convey him as an underdog who routinely makes mistakes, and as such resorts to fabricating evidence regardless. Yet when his actions bring the police into disrepute, Doo-man’s evolution is incredible as he begins to emulate Detective Seo-Tae-yoon and commit to serious police work, making Memories of Murder as much about his maturation as about finding the serial killer.
Detective Cho Yong-koo is ultimately a proletariat figure with a penchant for violence, and Kim Roi-ha performs the role well. Bong Joon-ho uses the protagonist of Yong-koo to express the base dissatisfaction with the institution, and as such is more akin to a criminal as he abuses suspects, drinks alcohol, fights with locals, and more importantly sexually assaults a girl in a karaoke room – right next to his oblivious fellow officers.
Kim Sang-kyeong also conveys a highly competent performance as pretentious Seoulite Detective Seo Tae-yoon. As his modern style of police work inspires Park Doo-man, the corruption conversely leads to the devolution of Tae-yoon as his frustrations engulf his sense of reason. Yet while Doo-man’s character arc is compelling, Tae-yoon’s is less so due to his reserved and conceited portrayal.
Searching for the killer leads all the detectives into a moral vacuum
Verdict:
Memories of Murder is a fantastic example of a crime-thriller that does not rely on gore in producing an enthralling film about serial murders. While artistic license has undoubtedly been applied in certain areas, the fact it is based on a real-life unresolved case provides authenticity and a mixture of genuine fascination and horror that such events could transpire in recent history. As such it justifiably deserves its status as being not only one of the most prolific films to originate from Korea, but also in cementing Bong Joon-ho’s reputation as a respected auteur, making Memories of Murder one of the most noteworthy examples of the genre.
Director Bong Joon-ho‘s Okja (옥자) is almost upon us. The highly anticipated science-fiction/drama is set to premiere In Competition at the Cannes Int. Film Festival on May 19th, before appearing on Korean cinema screens around June 28th – and across the world, thanks to Netflix.
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