Jeong Eun-chae (정은채)

October 5, 2014September 7, 2015

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The Fatal Encounter (역린) – ★★★☆☆

The Fatal Encounter (역린)

The year is 1777. King Jeongjo (Hyeon Bin (현빈) has only been in power for a year yet has survived numerous assassination attempts, while the political machinations within the kingdom due to conflict with the rival Noron group has resulted in a tenuous grip on power. Paranoid and afraid, King Jeongjo retreats to a small study to protect himself and to find a resolution to the crisis, trusting only his eunuch servant Kap-soo (Jeong Jae-yeong (정재영). Unbeknownst to King Jeongjo, another attempt on his life will soon be made by a collusion between his young grandmother Queen Jeongsun (Han Ji-min (한지민) and Noron military General Goo Seon-bok (Song Yeong-chang (송영창). Yet the conspirators have also enlisted the services of an assassins guild led by Gwang-baek (Jo Jae-hyeon (조재현), who orders his best killer Eul-soo (Jo Jeong-seok (조정석) to carry out the task lest his girlfriend Wol-hye (Jeong Eun-chae (정은채) be killed instead. In the final 24 hours leading up to the attack, King Jeongjo must use every means at his disposal to save himself, his mother Lady Hyegyeong (Kim Seong-ryeong(김성령), and the very kingdom itself from the sinister coup.

The paranoid King retreats to his secuded study to avoid assassination and to find a resolution for the internal political crisis

The paranoid King retreats to his secluded study to avoid assassination

The Fatal Encounter (역린), also known as The King’s Wrath, is a visually impressive feature debut by director Lee Jae-gyoo (이재규), whose previous credits have largely applied to television dramas. Director Lee makes to leap to film with incredible confidence and fortitude, expertly constructing the ominous tone leading to the assassination attempt with beautifully realised composition and quite lovely cinematography. His prowess is often astonishing, ranging from scenes depicting a dark foreboding rain-soaked palace at night to stunningly colourful scenes in which the King’s clothes are dyed and worshipped; from ethereal shots on a lake during clandestine meetings to tense and sexually-charged confrontations between the King and his young grandmother. From beginning to end, The Fatal Encounter is a gorgeously attractive film.

Yet while the film is consistently visually engaging, unfortunately the same cannot be said for Choi Seong-hyeon’s (최성현) script which, while competently written, becomes weakened due to the overly-ambitious narrative juggling act and the vast number of characters within. Set in the 24 hours leading up to an assassination attempt, the narrative attempts to fill in the gaps of certain complex relationships and historical events by employing flashback sequences. This is itself is an effective storytelling device, however the great number of flashbacks utilised within the narrative structure proves a great distraction from the main tale of King Jeongjo’s efforts at securing stability within the kingdom, becoming subsumed beneath the weight of so much excess. With far too many protagonists and antagonists to cover, it’s difficult to invest in the King’s struggles, or to care that this could potentially be his final day on earth.

Scenes in which King Jeongjo confronts his grandmother are intense

The Fatal Encounter features a stellar cast, headlined by superstar Hyeon Bin as the King. The actor is an imposing presence as the royal leader, conveying a restrained strength and stoicism that is expected of such a role. The stoicism does however occasionally veer towards blankness, while the absence of subtlety suggesting paranoia is something of a missed opportunity. Interestingly it is Jeong Jae-yeong who steals the limelight as devoted eunuch Kap-soo, as he impressively balances his unquestionable loyalty to the King with nuances suggesting disquiet as well as a range of emotional angst. The best moments of the film come from the interplay between the King and Kap-soo as their relationship is explored and develops into new territory.

For the myriad of other talents within The Fatal Encounter, their characters tend to be limited to one-dimensional stereotypes, yet the cast all perform competently. Han Ji-min is particularly impressive as femme fatale grandmother Queen Jeongsun, conveying an intense sexual energy in her scenes with King Jeongjo which she has clearly perfected from her similar characterisation in Detective K.

The abundant cast results in so many narrative strands and sub-plots, in multiple time streams no less, that The Fatal Encounter loses the sense of urgency required in making the countdown to assassination compelling. While director Lee excels in crafting a visually striking film, and in executing a kinetic action-filled finale well, the overly-ambitious narrative structure ultimately combines to make The Fatal Encounter a mediocre period piece.

The Fatal Encounter is consistently visually impressive

Verdict:

The Fatal Encounter is a visually arresting feature film debut by Lee Jae-gyoo, who confidently and impressively constructs beautifully realised compositions of the ominous 1777 era. Yet the film loses agency due to the combination of an overly ambitious narrative structure in conjunction with an over abundance of characters, resulting in a very attractive period film that is difficult to invest in.

★★★☆☆

Haewon meets Seong-joon, the married professor with whom she has an on-and-off affair

October 9, 2013January 30, 2015

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Nobody’s Daughter Haewon (누구의 딸도 아닌 해원) – ★★★★☆

Nobody’s Daughter Haewon (누구의 딸도 아닌 해원)

Director Hong Sang-soo’s (홍상수) 14th feature film Nobody’s Daughter Haewon (누구의 딸도 아닌 해원) is a wonderfully charming and beautifully endearing tale. The film received it’s world premiere at Berlin before invitations to festivals throughout Europe, the Americas, Asia and Oceania, which are a testament to not only director Hong’s popularity but also for the seemingly effortless sincerity captured within the story.

Fans and newcomers alike will find much to enjoy from Nobody’s Daughter Haewon. Director Hong has infused the film with his trademark nuanced style, employing a subtle and understated method that belies the depth and symbolism within, while also referencing previous works. Yet the film is also notably given heart and soul by the quite lovely performance of Jeong Eun-chae (정은채) as Haewon, a young woman struggling to reconcile her identity and place in the world.

Haewon meets Seong-joon, the married professor with whom she has an on-and-off affair

Haewon (Jeong Eun-chae (정은채) is a lonely film and acting university student who, due to her attractiveness and strength of character, is often set apart from her classmates. When her mother announces that she intends to live in Canada, Haewon’s loneliness increases dramatically leading to a reunion with married professor Seong-joon (Lee Seon-gyoon (이선균), with whom she has an on-and-off affair. As the couple begin to rekindle their feelings for each other through dates at a traditional park and an old hiking trail, their interactions become increasingly fraught.

Director Hong’s seemingly effortless, almost meandering style perfectly captures the inner turmoil of his lead protagonist. His deceptively simple camera movements and mise-en-scene may appear whimsical at first glance, which is indeed part of the film’s charm, yet there is also symbolic depth within every frame. The empty – and previously restricted – park, the uphill struggles of hiking, the overbearing statues and so forth all emphasise Haewon’s evolving psychology following the departure of her mother and rekindling of a self-destructive relationship. Director Hong employs such aesthetics in conjunction with his trademark ‘repetition with difference’ sequences, and as such each time an interaction is conducted the subtle changes produce alternative meanings and endings that are fascinating to watch unfold. In constructing such repetition seamlessly within the story, each ‘chapter’ – or rather reenactment – is a product of Haewon’s diary entries or dreams adding further allure as she is very much in control of the unfolding events, further accentuated through her occasional narration.

Haewon's dreams and diary entries mark different 'chapters', or rather renactments, within the film

Haewon’s dreams and diary entries mark different ‘chapters’, or rather reenactments, within the film

This would of course mean very little if Haewon was unlikeable, however actress Jeong Eun-chae is wonderfully charismatic throughout. In what is arguably her breakout role, Jeong Eun-chae infuses her character with strengths and flaws in equal measure, conveying a nuanced complexity that is mesmerizing. It’s not so much that her performance is perfect, but that when over-acting or stoicism appears it is wholly natural within the context of the scene. When Haewon meets actress Jane Birkin in the early stages of the film, for example, the awkwardness and slightly cringeworthy moments express not only being star-struck but also Haewon’s desire for a mother-figure to admire and be valued by. Jeong Eun-chae is also great at adapting Haewon as a slightly different person for each repetitive sequence, also symbolised by her striking red and autumnal coloured clothing. The subtle changes, as well as the criticisms and compliments that come her way, are all indicative of a young woman attempting to establish her identity through dreams and diary recollections, and are consistently lovely to watch unfold.

That said, Nobody’s Daughter Haewon will not be for everyone. Critics of director Hong’s style will undoubtedly find the same issues within this film as they have in his previous works. The story does indeed meander; the plot doesn’t progress particularly far due to the repetitive nature of scenes; the intellectual male characters are all indicative of contemporary masculine immaturity. Ultimately it will be down to individual viewers tastes whether such themes are a source of charm or frustration. Yet for fans and audiences interested in non-cliched representations of modern relationships, Nobody’s Daughter Haewon will be a refreshing delight.

Haewon and Seong-joon awkwardly meet another couple in a similar situation at Namhan Fortress

Verdict:

Nobody’s Daughter Haewon is an incredibly charming and quite lovely film by director Hong San-soo. In depicting lonely film and acting student Haewon as she rekindles an affair with her married professor, a deceptively simple and subtlety nuanced film about identity and direction is constructed, employed through the director’s trademark aesthetics. Jeong Eun-chae is wonderfully charismatic and gives a career best as Haewon. While the story does meander and the male characters are quite immature, Nobody’s Daughter Haewon is a delightful and refreshing tale of modern relationships.

★★★★☆