Working Girl – also known as Casa Amor: Exclusive for Ladies – has released a series of promotional posters and a trailer.
The sexy comedy stars Jo Yeo-jeong who, following a mistake in the work place, joins forces with neighbour Clara to open a store that sells adult toys and other paraphernalia exclusively for women.
Jo Yeo-jeong is no stranger to films with sexual content, baring all in erotic period dramas The Servant and The Concubine. Model Clara, meanwhile, has acted largely in cameos yet captured the attention of the Korean public following a baseball pitch wearing skin tight clothing, and has since gone on maintain a presence in the spotlight.
Check out the trailer, character trailer and posters below:
While the film looks to be a light-hearted sexy comedy, it remains to be seen whether Working Girl will be an empowering film about female sexuality, or simply exploitative. 2014 has not been a particular good year for Korean actresses due to the predominately male-centered narratives, with many female performers ultimately forced to occupy explicit sexual roles. Due to the incredibly limited roles for women, even up and coming actresses Lim Ji-yeon (Obsessed), Lee Tae-im (For the Emperor) and Esom (Scarlet Innocence), despite being considered rookies in the industry, have all performed in graphic sexual scenes, scenes which often border on rape.
Hopefully director Jeong Beom-sik – who has previously helmed mostly horror fare including Horror Stories 1 and 2, as well as Epitaph – will construct a comedy where the heroines of the story take charge of their sexuality, and will usher in a brighter and more diversified year for Korean actresses.
Working Girl will hit Korean cinemas on January 8th, 2015.
While most film festivals promote themselves as bigger and better every year, the 17th installment of the Busan International Film Festival is certainly living up to the hype. With the first non-Korean hosting the opening ceremony in the form of Chinese actress Tang Wei, with the festival spread out across 10 days (as opposed to 9 in 2011), and with 132 world and international premieres, BIFF 2012 has done an incredible job in cementing itself as one of the key film festivals throughout Asia. The popularity of this years installment is acutely visible, as online tickets sold out rapidly whilst the 20% allocation at the event disappeared by mid-morning.
There were a lot of events to be had during the opening weekend of BIFF 2012. While Haeundae Beach was the host for several interviews and performances, the screenings themselves also often sported Q & A sessions with directors, producers and/or the stars themselves to an unprecedented degree in BIFF’s history. It was also common to walk into or past coffee shops and see film-makers meeting and conversing, creating a very relaxed atmosphere with their approachable demeanor.
On Friday the 5th, a private party was held for those that work within the film industry as well as journalists, while the cast of Kim Ki-duk‘s latest feature, the incredibly successful Pieta (피에타), were also in attendance.
Actress Jo Yeo-jeong co-hosts the Lotte Red Secret Party
Saturday the 6th saw two events take place. The Lotte Night Party – Red Secret was hosted by The Servant (방자전) actress Jo Yeo-Jeong and gave awards to those who had contributed significantly over the past year. Among those receiving awards were notable screenwriters and actors, including host Jo Yeo-Jeong and A Muse (은교) actress Kim Go-eun (김고은). Also in attendance were actor/director Yoo Ji-tae (유지태) and his wife, as well as Ahn Seong-gi (안성기), and former BIFF director Kim Dong-ho (김동호). Yet the most memorable event at the Red Secret party was the arrival of now-global-megastar Psy, who performed several of his hits as well as the groundbreaking Gangnam Style to a rapturous crowd.
Psy performs for the emphatic crowd
The second party of the night was held by CJ Entertainment, and the style was markedly different.
Sistar performed some of their hits and dance routines to an adoring crowd
In terms of performers parody group The Wonderboys were amazing fun as well as providing some great music to warm up the crowd for the main act – Kpop superstars Sistar. The quartet sang some of their most famous hits accompanied by their signature dance moves that had the crowd chanting their names. In attendance were a variety of people involved in the film industry including REALies president Kim Ho-seong and renowned editor Lee Sang-min. There were also a whole host of film and television stars, including the cast of period drama-comedy Masquerade (광해, 왕이 된 남자) – Lee Byeong-heon (이병헌), Ryoo Seung-ryong (류승룡) and Jang Gwang (장광) – as well as TV star Kim Min-jong (김민종) and As One (코리아 )actor Lee Jong-suk (이종석).
Actress Go A-ra was a delight
However a genuine highlight of the night was actress Go Ah-ra (고아라) (star of Pacemaker (페이스메이커) and Papa (파파)), whowas incredibly kind, courteous and humble, giving genuine insight into the differences in working in the Korean film and television industries.
Sunday night saw the Korean Film Council (KOFIC) event, which saw fellow The Good, The Bad, The Weird (좋은 놈, 나쁜 놈, 이상한 놈)actors Song Kang-ho (송강호) and Jeong Woo-seong (정우성) attending, in addition to a myriad of other stars and members of the film industry.
And so ended the first weekend of the 2012 Busan International Film Festival. With the incredible selection of films, variety of events in which the public could have access to members of the film industry, and unprecedented popularity, it is difficult to imagine how BIFF will grow and improve in with future installments but one thing is for certain – the BIFF team will undoubtedly find a way.
The ‘erotic period drama’ has almost become a sub-genre unto itself. In recent years narratives have become increasingly more concerned with the sexual scandals of the ruling elite of eras gone by, and the impact such affairs have on the governance on the region. Rather than the sexless morality consistently promoted by the aristocracy, records clearly indicate a swathe of sexual liaisons which contemporary filmmakers seem determined to commit to celluloid.
The Servant, written and directed by Kim Dae-woo, certainly fits well into the category and while sexual sequences are initially misogynistic they are highly erotically charged, adding passionate depth to the central couple. Yet it is the incredible performance by Jo Yeo-jeong as dutiful albeit entrapped feminist Choon-hyang that makes The Servant such a compelling period drama, providing a poignant humanistic grounding set against a background of betrayal and corruption during the Joseon era.
During the Joseon Dynasty, a renowned crime lord (Kim Joo-hyeok (김주혁) recounts his path into the underworld to a scribe, with the intent to publish the autobiographical story and reveal the truth behind his descent into crime. Surprisingly the gangster’s tale begins as a humble servant, or Bang-ja (방자), in service of ambitious aristocrat Lee Mong-ryong (Ryu Seung-beom (류승범). Upon hearing of the beauty of a local woman named Choon-hyang (Jo Yeo-jeong), the daughter of a ‘gisaeng house’ owner, Mong-ryong visits to see for himself. Choon-hyang’s beauty has not been exaggerated, and Mong-ryong insists on meeting her in private in an attempt to woo her. Yet Bang-ja is also captivated by Choon-hyang, and so begins a rivalry between the master and servant for her affections. Tutored in the art of seduction by infamous Lothario Mr. Ma (Oh Dal-soo (오달수), Bang-ja successfully wins Choon-hyang’s heart yet in doing so unleashes a wave of ramifications that leaves all of them irrevocably changed.
The crime lord recounts his history as a servant (Bang-ja) to a scribe
The Servant is a re-imagining of the classic ‘Choon-hyang’s Tale’, told from the perspective of the titular servant Bang-ja, and as such is a much more male-centered narrative. This is both a blessing and a curse as while the shift detracts from the feminist perspective, Choon-hyang’s strength and passion are idolized through Bang-ja allowing for more poignant, romantic storytelling. Writer/director Kim Dae-woo’s interpretation also expresses a highly interesting variation on the tale as he has chosen to forgo the themes of chastity in favor of scandalous sexual liaisons, yet still foregrounds the issues of social status, tyrannical government officials, and women’s rights to produce a refreshing and socially aware take on the subject.
Kim Dae-woo’s screenplay – as well as his directorial style – does a wonderful job in exploring such concepts with a sexual twist, as the motivation behind all conversations and undertakings involves discussions of sex and sexual power. The relationship between Bang-ja and Choon-hyang wonderfully explores such dynamics as despite the romantic gestures, passionate physicality and development of love, their relationship can never be accepted due to social status adding genuinely moving melodramatic fatalism to the proceedings. Juxtaposed with their situation are the laughable attempts to woo Choon-hyang by aristocrat Mong-ryong, which serve as comical highlights as well as a source of frustration as despite his awkward masculinity Mong-ryong is by far the better suitor. Choon-hyang, and most notably her body, is continually used as a bargaining chip by those around her as she precariously walks the fine line between dutiful daughter/love interest and independent woman. Actress Jo Yeo-jeong is absolutely enthralling in the role as she conveys the unapologetic resolve to her family with strength and dignity yet still emphasizes her own desire to escape the rigid social hierarchy with passion and verve. Such is Jo Yeo-jeong’s skill and prowess that it’s difficult to imagine any other actress in the role, as she embodies the plight of Choon-hyang wholly and with sincerity.
While Jo Yeo-jeong’s performance is pivotal in making The Servant such an enthralling film, unfortunately a large part of the advertising campaign – and indeed, word of mouth – focused more prominently on her sexual scenes. The sequences themselves are highly erotic, arguably the most erotic within mainstream Korean cinema, as Jo Yeo-jeong’s incredibly glamorous figure is fully on display as she and co-star Kim Joo-hyeok commit themselves fully in conveying the utmost passion. Such scenes are, at least initially, highly problematic however as the first liaison is highly misogynistic and certainly falls into the category of sexual assault – perhaps even rape – a stark contrast with Kim Dae-woo’s prior sexual sequence in Untold Scandal. Yet despite this the resulting sexual sequences are not employed merely for titillation, as they convey the unbreakable passion and love between the central protagonists and infuse the relationship with romance and enchantment.
Choon-hyang falls for Bang-ja’s charms, leading to erotically charged sequences
Yet despite the fascinating exploration of the role of sexual power, The Servant falters during the final act. In his bid to offer a fresh take on the classic tale and offer a narrative twist to surprise audiences familiar with the story, Kim Dae-woo’s finale feels forced and contrived as he attempts to resolve all the narrative strands. While his technique allows the protagonists to come full circle, the tone is markedly different from prior events and frustratingly reduces the status of heroine Choon-hyang. That said, the impact of such melodramatic scenes linger long after the credits.
In terms of performance, Jo Yeo-jeong largely makes the entire film her own due to her tremendous prowess and charisma, although she is ably supported by her co-stars.
As the titular servant, Kim Joo-hyeok is highly effective as a man fully aware of his dire social status yet cannot control his impulses. He conveys his unique brand of dualism very well as he gallantly strives to help Choon-hyang or simply to be noticed, yet scant seconds later is begging for forgiveness for overstepping his social boundaries. Special mention must also be given to his scenes with infamous Casanova Mr. Ma, played by legendary supporting actor Oh Dal-soo. As a master in the art of seduction Oh Dal-soo is on perfect form and is incredibly humorous and heart-warming, offering comical interludes to the melodramatic scenes. As the teacher to Kim Joo-hyeok’s student, the pair play off each other effectively, discussing not only the techniques of seduction but also the ramifications.
Ryu Seung-beom is wonderfully sadistic as scholar Lee Mong-ryong, oozing villainy and moral corruption throughout the film. Yet the actor also skillfully conveys the sensitivity and frailty of Mong-ryong, particularly in the first act – ably accompanied by ‘feminised’ clothing and mise-en-scene – that places him in contrast with Bang-ja’s rugged masculinity well. As such Ryu Seung-beom portrays a more tragic ne’er-do-well, one poisoned by bitterness and jealousy.
Bang-ja and Choon-hyang are punished for their transgressions
The Servant is a wonderfully scandalous Joseon era melodrama, and a highly engaging and compelling reinterpretation of the classic tale. The themes of social inequality, sexual liaisons and women’s rights are expertly intertwined by writer/director Kim Dae-woo, while it is Jo Yeo-jeong’s seminal performance that remarkably emphasizes the plight of Choon-hyang. While elements of misogyny and a slightly contrived final act are apparent, The Servant is a powerfully seductive film about the power of sex and love in a bygone era.