The Seoul International Women’s Film Festival (SIWFF) is due to be held from May 27th to June 3rd, at Megabox Sinchon and Arthouse Momo theaters near Ewha Women’s University.
Now in it’s 17th edition, the festival continues to feature successful categories such as New Currents, Polemics #IAmAFeminist, and Queer Rainbow that explore the lives of contemporary women around the globe.
Yet this year SIWFF organisers have added an extra element to help promote the event for the first time in the festival’s history – an honorary ambassador titled ‘Feminista.’ The first Feminista is actress Kim Ah-joong, the star of films including 200 Pounds Beauty and My P.S. Partner.
SIWFF 2015 will open with Berlinale Crystal Bear winner My Skinny Sister, which leads nicely into this year’s special focus program, The Equal Power of Swedish Women’s Cinema, which contains an impressive 21 titles.
However, let’s take a look at some of the Korean films due to be screened at SIWFF 2015.
21& – director Kim A-ra (김아라)
Disillusionment for those in their early twenties is rife
Young filmmaker Kim A-ra explores the disillusionment and frustrations of Koreans in their early twenties in documentary 21&. After studying extremely hard in Korea’s brutal education system, the youngsters are looking forward to working towards achieving their ambitions…but is it possible?
A Girl at My Door (도희야) – director Jung July (정주리)
Do-hee is a victim of terrible domestic abuse in the country town
Premiering at Cannes in Un Certain Regard before appearing at Toronto and Busan, A Girl at My Door is an incredible and empowering drama exploring the lives of those on the margins of contemporary society. Featuring outstanding performances by actresses Bae Doo-na and Kim Sae-ron, and with confident and assured direction under the gaze of July Jung, this is a great opportunity to catch the film again on the big screen. Read the review here.
Heart of Snow, Heart of Blood (눈의 마음: 슬픔이 우리를 데려가는 곳) – director Kim Jeong (김정)
Korean descendants born in Uzbekistan have a complex history
Documentary Heart of Blood, Heart of Snow follows the life of Alex Kim, a descendant of Koreans who were forcibly relocated to Uzbekistan by Stalin. Yet while there his family wealth is confiscated, and he becomes the owner of a restaurant. Director Kim Jeong uses Alex’s story to examine the turbulent history of those who fled the Korean War, only to become struggling nomadic migrants.
The Liar (거짓말) – director Kim Dong-myeong (김동명)
Ah-young’s lies explore the materialism of society
Talented independent actress Kim Kkob-bi takes centre stage in drama The Liar. The film examines the importance of social status, material wealth and physical appearances in Korean society through the lies told by Ah-young, the central protagonist who dreams of a life of luxury away from her current reality. Director Kim’s drama premiered at Busan Film Festival last year.
Cart (카트)– director Boo Ji-young (부지영)
As tensions escalate, Seon-hee and Hye-mi fight back against their affluent male abusers
Based on a true story, Cart depicts the outcry and shocking abuse of workers rights as the managers of a supermarket chain attempt to fire their staff and replace them with part-timers. Yet many of the current workforce are struggling single mothers, students, or those nearing retirement. Premiering at Toronto before screening at Rotterdam and Busan, Cart is an impressive social drama. Read the review here.
The Emotional Society on Stage (감정의 시대:서비스 노동의 관계미학) – director Kim Sook-hyun (김숙현), Cho Hye-jeong (조혜정)
The roles we perform come under scrutiny
Experimental documentary The Emotional Society on Stage examines the roles people are forced into within society, and notably if it’s possible to break such cultural forms through performance. The 24 minute film previously appeared at the 2015 Jeonju Film Festival, as well as The Seoul Independent Documentary Film and Video Festival in the same year.
Sinchon Bouncy Ball (신촌탱탱볼) – director Lee Min-jeong (이민정)
Homosexuality is still very much taboo in Korea
World premiere. Documentary Sinchon Bouncy Ball presents the issues concerned with sexuality in modern Korea through following student Rau as she prepares to complete a school project regarding gender identity. In examining the various areas of the debate Rau comes to develop her ideas on the nature of sexuality, love and identity.
Barrier Free Screening
How to Steal a Dog (개를 훔치는 완벽한 방법) – director Kim Seong-ho (김성호)
Can Ji-so steal a dog and help her family?
How to Steal a Dog was a successful indie film in Korea earlier this year, and has been selected for the ‘barrier free screening’ event, presented for both visually and hearing-impaired audiences.
The film depicts the tale of Ji-so and younger brother Ji-suk who spy a poster offering a big cash reward for finding a missing dog.
One of the great joys of Korean cinema are the unexpectedly fascinating twists and turns of plots; of startlingly powerful scenes examining issues of ‘han’ juxtaposed with quiet, intimate ones; of characters who endure the most difficult of circumstances in Korean society yet refuse to falter.
Here we celebrate 10 of the most memorable moments of Korean cinema from 2014.
The scenes discussed are featured in alphabetical order of the films they featured in, and mark the most emotionally resonating, the funniest, and most shocking moments of the year
Following a minor conflict with customers at the supermarket, Hye-mi ends her shift and prepares to leave…until those customers, headed by management, descend upon her demanding an unwarranted apology. However a mere apology isn’t enough for the spiteful patrons. In an unbearably humiliating scene, Hye-mi is forced to get on her knees and beg forgiveness for something that wasn’t her fault, with director Bo Ji-young impressively building the indignity and shame to anger-inducing levels. Actress Moon Jeong-hee is incredible throughout the scene, wonderfully conveying the soul-swallowing, abject shame she is forced to endure in order to keep her job.
The Fatal Encounter was certainly one of the most attractive Korean films released in 2014 and is a stunning debut showcase of director Lee Jae-gyoo’s prowess.
In one of the most intense scenes, King Jeongjo plans to visit his grandmother…yet rather than an old woman, he is confronted with stunningly beautiful actress Han Ji-min. During the encounter the sexual tension and danger of the situation is palpable, as the two engage in a battle of wits while the ‘grandmother’ seductively bares her perfect skin to the young king.
The scene wonderfully captures the danger and eroticism of the period with incredible tension, highlighting not only director Lee’s skill but also the acting abilities of Han Ji-min and Hyeon-bin.
When police officer Yeong-nam decides to act as guardian for troubled youth and domestic violence victim Doo-hee over the summer, neither of them could ever expect the end result. Incarcerated due to her sexuality, Yeong-nam’s life is effectively over, until Doo-hee takes matters into her own hands.
Plying her father with alcohol until he passes out, Doo-hee undresses and crawls into his bed before calling the police and, while the line is connected, shockingly fakes sexual abuse at his hands, incriminating him as the perpetrator of a horrific crime while also exonerating the innocent Yeong-nam.
Actress Kim Sae-ron is simply excellent throughout the disturbing sequence, conveying Doo-hee as vulnerable yet frighteningly manipulative.
When the immigration plans go awry, the cutting begins
Agreeing to take illegal Chinese immigrants into Korea, captain Cheol-joo becomes increasingly nervous…particularly when the coastguard comes for a surprise inspection. The crew hurriedly force the newly acquired passengers into a special room in the hull until danger has passed, yet when they reopen the hatch they are horrified to discover the immigrants are all dead.
Not knowing what to do, the ruthless captain orders his men to grab a tool and begin cutting up the bodies and to throw the limbs overboard. As the crew horrifically hack and slash their way through the innocent travelers the deck literally turns red with blood.
Director Sim Seong-bo brilliantly stages the terrifying scene with wonderfully composed shots and the dense, lingering fog within which the brutality takes place.
Detective Go genuinely has one of the most difficult days in his career. His mother has died. He is under investigation by internal affairs. And he kills a man in a shocking hit and run accident.
Desperate to get rid of the body, Go does the unthinkable and decides to put the body in the same coffin as his dead mother. Yet in order to do so, he must position his car perfectly, use his daughter’s toy to drag the body through an air vent, unscrew the nails in the coffin and replace the lid – all while avoiding CCTV cameras as well as the funeral parlour workers. Amazingly Go manages to succeed in his frantic quest and begins to relax….until the man’s cellphone begins ringing from inside the coffin.
Easily one of the most exciting, darkly hilarious moments of the year.
One of the most powerful stories is the forced termination
Let’s Dance is a moving, insightful documentary on the topic of abortion in Korea. Director Jo Se-young expertly interviews a variety of women who have undergone the procedure – some who actively wanted it, some who were in a difficult situation and needed it, and one who was forced.
Listening to the woman’s story is heartbreaking as she describes her relationship with a selfish, manipulative boyfriend who refused any part of the situation and forced her to deal with it alone. As she explains her trepidation surrounding the issue and the resultant lateness in having the abortion, it’s impossible not to be deeply, fundamentally moved. The descriptions of her situation and psychologically at that time are incredibly powerful as well as illuminating, and poignantly highlight the need for support for women in challenging relationships and situations.
In the film’s final moments, Mr. Park reveals his younger self
For much of the running time, Miss Granny is simply a mild-mannered comedy, one that induces the occasional giggle rather than laughter.
That all changes however during the film’s final few minutes as elderly Mr. Park, who had desperately tried to woo Mal-soon (and supported her younger self, Doo-ri), visits the same magical photography studio. He then visits the bus stop to meet Mal-soon, approaches her, and takes his helmet off to reveal…Kim Soo-hyeon.
Through this genius cameo, cinemas exploded as viewers screamed and whooped at Kim’s presence, and guaranteed that cinemagoers would leave the theater excited and spread positive word of mouth about the film. You can see Kim’s big reveal in the video below.
In an extremely emotional scene, Sang-mo washes his wife
Revivre is a highly emotional film, largely due to the phenomenal acting prowess of Ahn Sung-gi.
In the film’s most powerful scene, Sang-mo’s (Ahn) terminally ill wife loses control of her bowel and soils herself, and as a dutiful husband he takes his wife to the bathroom and washes her. Yet the abject humiliation is too much to bear and she emotionally breaks down in tears, while Sang-mo tries to support her and remain strong. However what makes the scene so poignant is its depth. Sang-mo’s love for his wife has faded and he is merely being a responsible husband, which his wife is all too aware of. As such the intensity of her embarrassment and the emotional resonance of the situation are heightened beyond words.
A masterclass in acting ability by Ahn Sung-gi and Kim Ho-jeong.
As Korean unfortunately has one of the highest rates of suicide in the OECD, and one which is especially high amongst teenagers, naturally filmic narratives have sought to portray the issues youths face on a daily basis. Most films tend to focus on the teen suffering from abuse, yet Thread of Lies instead explores the lives of those effected by Cheon-ji’s suicide with flashbacks revealing her decent into depression and those responsible for it.
Modern bullying is distressingly articulated through the birthday party scene, in which Cheon-ji arrives at the event late after being told the wrong time. When she does enter, all the girls at the party begin using a social messenger application to spitefully criticise the distraught young girl right in front of her. Her loneliness and isolation are poignantly captured in this powerful scene, conveying that everyone in Cheon-ji’s life contributed to her depression and are accountable for her suicide.
Easily the most controversial film of the year, The Truth Shall Not Sink With Sewol examines the inept response following the disaster, with the investigative journalist style elevating the documentary heads and shoulders above other releases.
Yet the most emotionally harrowing scene comes in the film’s last few minutes, as director/journalist Lee Sang-ho joins a protest march as parents of the deceased demand action from the government. Asking a father about his feelings and regrets, the grieving man sobs as he states how he wishes he’d told his child to not listen to the officials, how he wished he’d said to run and escape, how his child is not alive today because of his poor advice. Director Lee desperately attempts to console the father despite his own free flowing tears…and audiences were right along with them.
With the end of the year almost upon us, it’s time to revisit the films released over the past 12 months in order to discern the best offerings from the Korean film industry for 2014.
First, however, a quick review of the year is in order to chart the highs and lows from the peninsula, as it was a tumultuous time for Korean cinema indeed.
For those who cannot wait, please scroll down to find the top ten of 2014.
2014 – In Review
2014 was, by all accounts, a rather lacklustre year for Korean cinema.
Miss Granny (수상한 그녀)
The beginning of the year was undoubtedly dominated by Hollywood. While the release of several high profile Korean films including Plan Man, Man in Love, Hot Young Bloods and Venus Talk occurred, none of them performed particularly well, especially when faced with the gargantuan success of Disney’s Frozen. Things changed at the end of January with the release of Miss Granny, thanks largely to positive word of mouth. Starring Shim Eun-kyeong as an elderly woman transformed into twenties, the mild-mannered comedy was a fairly big success scoring over 8.6 million admissions. Controversial independent film Another Promise also performed impressively. Concerned with people stricken with cancer after working at a Samsung factory, the film was all but rejected from multiplexes causing outrage from critics as well as accusations of insider suppression, even prompting an article from UK outlet The Guardian.
For the next few months, Korean cinema continued to stagnate until things went from bad to worse in the wake of the tragic Sewol Ferry disaster on the 16th of April. With the entire nation reeling from the loss of so many lives – mostly high school students – cinemas, understandably, largely remained empty. For the next few months, with the population still in a collective state of mourning, attendance and revenue was considerably down compared to the year prior, with audiences also tending to stay away from violent films such as No Tears For The Dead and Man On High Heels.
Indie success came in the form of Han Gong-ju. Released in April, the film scored over 60,000 admissions during its first four days, and eventually surpassed 160,000 during its box office run to become one of the most successful independent films in the history of Korean cinema. Han Gong-ju was also an enormous hit on the international film festival circuit, achieving several top honours as well as acclaim from cinema maestro Martin Scorsese.
Things turned around considerably in late July. Upon release, KUNDO: Age of the Rampantbroke the record for opening day admissions and helped to breath new life into the industry…until that record, and virtually every achievement in Korean cinema, was decimated by historical naval epic The Admiral: Roaring Currents. Shortly thereafter the final two tentpole summer films – The Pirates and Haemoo – also graced screens to moderate success. Fears that the blockbusters would fail due to narratives that contain deaths at sea, and thus touching on the still sensitive issue of the Sewol tragedy, luckily proved to be unfounded.
The next big news to hit the industry came in the form of controversial documentary The Truth Shall Not Sink With Sewol. Premiering at the Busan International Film Festival, Sewol depicted the ineptitude of the government in failing to save so many lives during the disaster. Park Geun-hye’s administration responded by demanding the withdrawal of the film from the festival, as well as threats of funding cuts. BIFF refused, and it remains to be seen what ramifications the decision will have on subsequent festivals.
The year ended on a high note, particularly for independent cinema, as positive word of mouth led to documentary My Love, Don’t Cross That River (님아, 그 강을 건너지 마오) attracting over 1 million viewers and knocking Hollywood films Interstellar and Exodus from the top spots at the box office. It currently stands as the second most successful documentary in Korean cinema history.
Before beginning the top ten countdown, it would be impossible to exclude any discussion of Han Gong-ju. Rated in joint first place in last year’s ratings (due to its premiere at BIFF), director Lee Su-jin’s directorial debut is bold, powerful, and emotionally resonating. Featuring an outstanding performance by Chun Woo-hee – who won Best Actress at the Blue Dragon Film Awards – Han Gong-ju is based on the true story of a high school girl who is forced to relocate to a new area following an horrific event. As she attempts to rebuild her life, Gong-ju discovers that she cannot outrun her past however much she tries. Appearing at over 15 international film festivals and receiving acclaim from Martin Scorsese himself, Hang Gong-ju is not to be missed.
Manshin: Ten Thousand Spirits is a beautifully stylised, wonderfully constructed documentary that is emblematic of the new artistic approach being employed to genre. Directed by artist/filmmaker Park Chan-kyong, Manshin presents the life and times of renowned shaman Kim Keum-hwa through a startling array of storytelling devices, all in the aesthetic of traditional Korean culture. Periods from shaman Kim’s life are gorgeously reconstructed featuring three prominent actresses – Kim Sae-ron, Ryoo Hyeon-kyeong and Moon So-ri – which, while interesting in itself, is also a story that explores the cultural identity of Korea in the rapid transition from one of the poorest nations in Asia to the economic powerhouse it is today.
Amalgamating several real life stories that have transpired over the years, Korea’s most prominent queer director, Lee Song Hee-il, released arguably his most compelling film to date in the form of Night Flight. Poignantly depicting the relationship of two teenage gay Seoulites and their desire to escape their oppressive environment, director Lee Song goes beyond focusing primarily on the romance by profoundly developing the world they inhabit. The harsh education system, the class divide, single parent families and social injustice all feature, and as such homosexuality is naturalized as simply another facet of identity that youths struggle with, resulting in an insightful and compelling drama.
Documentary Let’s Dance is concerned with the topic of abortion in Korea. Director Jo Se-young brilliantly interviews a variety a women who have undergone the procedure, inquiring about their thoughts, reasons and feelings about the controversial subject matter. Yet the film is far from bleak; in fact it’s quite the opposite. During the refreshingly frank conversations the women laugh, joke and cry about their experiences, while dramatic recreations of comical events are interlaced within, making the documentary a genuinely funny, enlightening, and empowering film. The film also hilariously pokes fun at male ignorance on the subject, including lack of awareness regarding contraception and even the length of pregnancy. Inspirational viewing.
Director Boo Ji-young’s insightful second feature film Cart premiered at the Toronto International Film Festival to great acclaim, and for good reason. Based on the true story of unfairly dismissed supermarket employees who began strike action to be reinstated, Cart is a consistently impressive exploration of worker’s rights, women’s issues, and single parent families in contemporary Korea. The provocative drama explores each facet from several distinct perspectives and never fails to be engaging. It also has the distinction of being almost entirely female-centered to great effect, with acting duties from a host of incredibly talented actresses of all ages, combining to produce a moving, courageous and provocative socially-conscious drama.
South Korea has the unfortunate distinction of having one of the highest suicide rates in the OECD. Thread of Lies tackles such difficult subject matter by exploring the lives of those effected in the aftermath of a young girl’s suicide, and is a powerfully provocative film in that the story not only depicts bullying and depression, but also delves into the problematic realm of accountability. Driven by the need for answers, Man-ji begins investigating her younger sister’s suicide, with the conclusions proving to be a painful experience. Thread of Lies is also notable for having a stellar all-female cast, a real rarity these days, with the array of talent combining to produce an understated yet deeply resonating examination of an important social issue.
Easily the most controversial Korean film of the year, documentary The Truth Shall Not Sink With Sewol premiered at the Busan International Film Festival to uproar. Under pressure from government officials and the mayor of Busan/Festival Chairman Seo Byung-soo himself to remove it from the schedule, BIFF ultimately refused and screened it anyway to reveal a highly emotional and courageously critical exploration of the administration’s disastrous rescue efforts following the Sewol tragedy. Through the investigative approach of director Ahn Hye-ryong and journalist/director Lee Sang-ho, the documentary is a powerful tribute to not only the victims of the event but also the ongoing debate of accountability, and the collusion between the state and mass media.
If there’s one genre synonymous with Korea cinema, it’s the thriller. Yet over recent years thriller films have tended to fall a little flat, a result of over-saturation combined with a lack of ingenuity. Not so with director Kim Seong-hoon’s A Hard Day. Premiering at Cannes Film Festival, the action extravaganza is perpetually riveting entertainment and a wonderful example of great popcorn cinema, so much so that the 2 hour 30 minute running time simply flies by. Featuring an exciting array of set pieces throughout, A Hard Day is a constant mix of excitement and tension that serves to keep the audience guessing – due in no small part to the phenomenal editing – while the ironic dark humour laced within the story always hits the mark.
Nominated as Korea’s official entry for the Academy Awards, Haemoo – or Sea Fog – is based on the horrific true story of illegal immigration gone wrong. Director Shim Seong-bo’s directorial debut is a thrilling visual tour de force, expertly capturing the fraught claustrophobia of life on a small fishing vessel and the abject horrors that occur. Produced by Bong Joon-ho and featuring cinematography from Hong Kyeong-pyo (Snowpiercer), the drama expresses a profound and distinctive aesthetic throughout, as well as great performances from the stellar cast and particularly from up-and-comers Han Ye-ri and Kpop star Park Yoochun. As such, Haemoo is certainly one of the best Korean thrillers in recent years.
After seemingly years of performing authoritarian cameo-esque roles, Ahn Sung-gi once again revealed why he’s considered one of the best in the business with an outstanding return to form in Revivre. Veteran director Im Kwon-taek‘s 102nd film, Revivre explores the life of a middle-aged vice president whose wife is stricken by a terminal illness, yet while he struggles to balance his responsibilities a beautiful new deputy manager begins working in the office who captivates him. What could easily be yet another typical male fantasy is given extraordinary emotional depth due to director Im’s and Ahn Sung-gi’s seasoned hands, both of whom combine to depict a man torn between duty and desire with striking sincerity.
Director July Jung’s directorial debut A Girl At My Door premiered to a standing ovation at the Cannes Film Festival, which in itself states the incredible power of the film. Produced by famed brothers Lee Chang-dong and Lee Jun-dong, the drama beautifully explores the themes of alienation and discrimination in contemporary Korea, featuring phenomenally understated performances by Bae Doo-na and Kim Sae-ron, as well as accompanied by some of the most exquisite cinematography seen all year. The sensitive and poignant story wonderfully captures the issues faced by those on the fringes of Korean society with incredible sincerity, and as such occupies the top spot in the list. Highly recommended and essential viewing.
Forced to relocate in the countryside due to an undisclosed issue in the city, police officer Yeong-nam (Bae Doo-na (배두나) prepares herself for a year of exile. Despite being one of the youngest adults in the city Yeong-nam is appointed chief of police, and in getting to know her new surroundings she is quickly exposed to the middle-aged, laid back way of life, as well as the migrant workers who help keep the town alive through manual labour. Yet no sooner as she attempts to settle, Yeong-nam is confronted with horrific child abuse against her young neighbour Do-hee (Kim Sae-ron (김새론) by her father Yong-ha (Song Sae-byeok (송새벽) and grandmother (Kim Jin-goo (김진구). To protect Do-hee from further domestic abuse Yeong-nam takes the child under her care, just as her past begins to catch up with her.
A victim of terrible abuse, Do-hee is a social outcast in need of protection
A Girl at My Door (도희야) is a simply phenomenal debut by writer/director July Jung (Jeong Joo-ri (정주리). Director Jung’s film is a powerful and intelligent exploration of discrimination and violence in Korean culture with a uniquely feminist spin that is all too rare in the industry. The approach taken in exploring such social issues is reminiscent of cinema legend Lee Chang-dong‘s work, particularly Poetry, which more than likely explains his decision to take a producer credit on the film. A Girl at My Door differentiates itself from director Lee’s work however in that director Jung’s layered script not only employs a multitude of perspectives in interrogating discrimination, but also in that she keenly conveys the ironies of Korean culture, particularly in regard to pretense. Central protagonist Yeong-nam projects a strong and stoic image as the chief of police, concealing her fraught complexity in regards to her history, emotional state, and very identity. Her dependancy on soju, which she conceals in water bottles, adds potent irony to an already paradoxical situation as she hides her addiction from those around her in a bid to remain a socially acceptable image. Director Jung captures moments such as these with incredible prowess conveying them in ways both subtle and obvious, balancing her character study with a skill belying her experience.
Yet where director Jung truly excels is through the relationship that develops between Yeong-nam and abuse victim Doo-hee. This is in no small part due to the astounding performances of both Bae Doo-na and, particularly, Kim Sae-ron. Bae Doo-na is constantly captivating as the police chief as she wrestles her internal conflicts, conveying a cold stoicism when in the presence of others yet a subtle fragility when alone. Yet it is youngster Kim Sae-ron who steals the limelight with her astonishing turn as social outcast Do-hee. Her range throughout A Girl at My Door is staggeringly impressive as an abuse victim desperate for love, with her unpredictability compelling to the utmost degree. Despite having two radically different characters director Jung crafts their relationship with a natural sincerity that never fails to be engaging. From small moments at meal times to more intimate scenes as they become closer, director Jung captures Do-hee’s reverence and Yeong-nam’s responsibility-turned-devotion with palpable affection.
Yeong-nam invites Do-hee to stay with her for a summer, where their relationship considerably develops
Through the central relationship as well as Yeong-nam’s position as law enforcement, A Girl at My Door explores discrimination within Korean society through the microcosm of a small countryside town. Director Jung interrogates the issue from a variety of perspectives, chiefly the sexism, homophobia and ageism that is so openly expressed by those in society. Despite her position as chief of police Yeong-nam is still subjected to gender and age discrimination by those she protects and works with, while her status as someone from the city also adds to the prejudice received. Do-hee is subjected to abuse which is justified due to her social status as a young orphan of sorts. The narrative impressively examines how such discrimination has become normalised within culture at both societal and governmental levels, with the frustration of innocents attempting to fight against it a source of inspiration and empowerment. Racism also arises through the incorporation of migrant workers within the story, adding a further perspective on the issue as they are forced to endure manual labour. Through her sense of irony director Jung astutely conveys how contemporary society is willing to accept such prejudice as long as their quality of life is assured, and their terrible reaction when it is challenged even in the name of the law.
The stakes are raised when Do-hee’s father Yong-ha is arrested for assaulting his workers
A Girl at My Door is a phenomenal debut by director July Jung, who examines issues of discrimination in contemporary Korea through the microcosm of small countryside town. Featuring beautiful cinematography and an intelligent, irony-laced script, A Girl at My Door also boasts two exceptional performances from Bae Doo-na and in particular from rising star Kim Sae-ron. Not to be missed.