Hill of Freedom (자유의 언덕) – ★★★☆☆

Hill of Freedom (자유의 언덕)

Hill of Freedom (자유의 언덕)

When sickly language teacher Kwon (Seo Young-hwa (서영화) returns from a trip to the mountains to cure her ailments, she is surprised to discover a hand-written letter by Japanese ex-boyfriend Mori (Ryo Kase) waiting for her. Settling in the local coffee shop, Kwon begins to read the passionate account of how Mori has travelled to Korea in order to find and be with her, and his encounters with pretty barista Yeong-seon (Moon So-ri (문소리) as well as his friendly guest house owners (Yoon Yeo-jeong (윤여정) and Kim Ee-seong (김의성).

Mori begins his quest to find ex-girlfriend Kwon

Mori begins his quest to find ex-girlfriend Kwon

Hill of Freedom (자유의 언덕) is director Hong Sang-soo’s (홍상수) 16th feature and as with much of his recent output the film has proved a hit on the festival circuit, screening at Venice, Toronto, Vancouver, Busan, and London, respectively. The film is also a notable return to a male-orientated narrative following a highly successful run of female-centered films (Nobody’s Daughter Haewon, Our Sunhi).

Fans of director Hong will find much to enjoy in Hill of Freedom, as his trademark sense of humour, focus on naturalised locations and mise-en-scene, as well as his often whimsical and charming filmmaking techniques, are all present and correct. The manner in which the narrative unfolds is one of the film’s highlights as Kwon, having received Mori’s letter, drops the pages in a stairwell and in her haste to collect them puts them back together in the incorrect order as well as – crucially – leaving a page behind. When Kwon later reads the letter and Mori’s story transpires, the events are presented in a non-linear manner, as with the pages themselves. The concept is quite endearing, particularly with Mori’s quest to find and declare his affections to Kwon presented through an emotional gamut of highs and lows rather than a progressive state, adding an interesting and unpredictable spin to the story as well as to the genre as a whole.

Mori befriends attractive barista Yeong-seon

Mori befriends attractive barista Yeong-seon

Yet Hill of Freedom is not without issues. Director Hong has made awkward encounters amongst his protagonists part of his modus operandi as an auteur, and the results are often alluring character moments that reveal a great deal about the psychological status at hand. In Hill of Freedom however such confrontations are often either cringeworthy viewing experiences or unintentionally comedic – and occasionally, both at the same time. Chiefly this is due to the dialogue which is mostly in the English language, and despite the wealth of acting talent on display it is a feature that no-one seems to be particularly comfortable with, except veteran actress Yoon Yeo-jeong who provides the best performance within the film as the kind guest house owner. While the awkward use of English may very well be an attempt to convey the naturally clumsy chance meetings between people through language, it is often quite over-exaggerated to the point where tension and development are diffused.

English is also a problem simply as dialogue. It is impressive that director Hong can write a script in a different language, yet the discussions that occur are delightfully naive, particularly during the scenes in which Mori discusses politics, is drunk and/or attempting to philosophically discuss time as a concept. As such the conversations that develop and evolve lack the sincerity of director Hong’s earlier films, and as a result Hill of Freedom is an enjoyable yet flawed addition to his filmography.

Mori encounters a variety of people while waiting for Kwon, often with awkwardly funny results

Mori encounters a variety of people while waiting for Kwon, often with awkwardly funny results

Verdict:

Hill of Freedom is return to male-centered narratives for writer/director Hong Sang-soo, which follows Mori on a quest to find ex-girlfriend Kwon and declare his love. All the staple features of director Hong’s films are apparent throughout the film and there is much to be enjoyed through the charming narrative style and camera techniques. However, chiefly due to the mostly English script, the dialogue is often naive while the delivery is uncomfortable for most of the actors involved. Hill of Freedom is an enjoyable yet flawed addition to director Hong’s body of work.

★★★☆☆

Advertisements
Busan International Film Festival (제19회 부산국제영화제) Festival News Korean Festivals 2014 Reviews
A priest telling lies or a devil telling the truth - The Fake examines the nature of religion

The Fake (사이비) – ★★★★☆

The Fake (사이비)

The Fake (사이비)

The Fake (사이비) is a brutal and intense viewing experience, with the shocking and visceral manner in which depicts a community under siege quite brilliantly executed. Director Yeon Sang-ho (연상호) has taken the dark themes he explored so wonderfully in King of Pigs (돼지의 왕) and expanded them into a wider sociological framework, and the result is a darkly explosive and constantly compelling social commentary.

A small village deep in the countryside is under threat from the construction of a new reservoir, which will submerge the whole community. With few options, the villagers turn to the newly formed church and its young priest for salvation, with their faith strengthened ever further by witnessing ‘miracles’. As their religious fervour becomes increasingly fanatical, a violent and abusive man returns to the village and, horrified by what he sees, attempts to reveal the machinations behind the church’s intent. Yet who should the country-folk believe – a man of God, or the devil himself?

The Fake adopts many of the conventions from the western genre as a lone ‘anti-hero’ returns from the wilderness to a corrupt civilisation. Director Yeon takes such motifs and intelligently plays with them in deconstructing Korean society, religion, and morality in ways both overt and nuanced, balancing them all incredibly well. Such a penetrating examination is conducted through the outsider character, who is far more devil than saint as he steals, drinks and beats women for his own selfish gain. Yet his status as an outsider also grants him the freedom of perception. With the threat of the reservoir – a wonderfully symbolic biblical flood – approaching, a con man and his young sidekick priest all too easily manipulate the villagers into doing their bidding by appealing to their base fears and desires. As the outsider attempts to reveal the scam and help them, the story explores just how illogical and frightening society can become when an ideology built on false promises is introduced and adhered to.

Religious fervour becomes increasingly fanatical as perceived threats loom on the horizon

Religious fervour becomes increasingly fanatical as perceived threats loom on the horizon

The examples of fanaticism that increase throughout the film are wholly believable, as the country-folk are continually duped by false miracles and promises set up by the clergy and his financial backer. As sick people refuse medicine in favour of ‘holy water’, women become prostitutes, as well as villagers selling property in order to donate to the church, The Fake is exemplary in depicting not only the seemingly inherent corruption within religious institutions but also the sheer ignorance of society as a whole, especially when under threat. There are no conventional ‘good’ characters to be found within the world of The Fake and as such the atmosphere generated is deeply intense and disturbing, and as the community continues to descend further into a moral abyss the film is consistently riveting.

It is also wonderfully ironic that the ‘saviour’ of the village is akin to the devil personified. At times even wielding a forked weapon and using fire, the outsider is an appalling brute who destroys everyone in his path and is routinely expelled from the community as the spawn of satan. His evil ways while speaking the truth are counter-balanced with the priest who behaves saintly while telling lies, and their interactions and conflicts are intelligent as well as explosive. The violence that occurs due to their personal war is ferociously bloodthirsty, with the fluidity of the animation a remarkable evolution for director Yeon. Indeed, with the exception of one rather ‘blocky’ church dancing scene, The Fake sports impressive visuals throughout whilst retaining director Yeon’s distinct style, with his use of colour and shadow adding tremendous weight to the intensity of the story.

A priest telling lies or a devil telling the truth - The Fake examines the nature of religion

A priest telling lies or a devil telling the truth – The Fake examines the nature of religion

Verdict:

The Fake, director Yeon Sang-ho’s second film, is a brutal, dark, and intense viewing experience that examines a rural community manipulated by a religious institution. Employing genre conventions from the western, director Yeon intelligently explores Korean social issues through the increasing conflict between con artists, duped villagers and evil men. The Fake is a genuine evolution of style for the director, and is a continually riveting and explosive social commentary on the nature of morality.

★★★★☆

Busan International Film Festival (제18회 부산국제영화제) Festival News Korean Festivals 2013 Reviews
The 18th Busan International Film Festival

BIFF 2013: Korean Cinema Today – Panorama

The 18th Busan International Film Festival

The 18th Busan International Film Festival

For exciting new Korean films, the Korean Cinema Today program at the Busan International Film Festival (BIFF) highlights some of the best and latest productions emerging from the industry.

Korean Cinema Today is separated into two sub-categories – Panorama and Vision. While Vision explores the latest independent films and exciting new filmmaking talent, Panorama showcases some of the big domestic and internationally acclaimed films, as well as more high profile world premieres.

The 14 films in Panorama 2013 contains some of the biggest names working in the industry today. For arthouse fans, Kim Ki-duk’s highly controversial Moebius, as well as two Hong Sang-soo films – Nobody’s Daughter Haewon and Our Sunhi – make appearances. Two directorial debuts are included in the form of superstar Ha Jeong-woo’s Fasten Your Seatbelt, and veteran actor Park Joong-hoon’s Top Star. King of Pigs director Yeon Sang-ho’s latest animation The Fake is featured. There are also exciting new projects that involve crowdfunding, human rights issues, and the debut of K-pop idol Lee Joon from MBLAQ in a lead role.

For the lowdown on all the films within the sub-category, please see below.

Korean Cinema Today – Panorama

Abbi (애비)

Abbi (Twisted Daddy) (애비)

Abbi (Twisted Daddy) (애비)

Director: Jang Hyun-soo (장현수)

Synopsis: Abbi – or rather, Twisted Daddy – is a drama about a father whose dedication to his son becomes out of hand. Working hard to ensure his son can study law and become successful, the aging father risks everything.

Another Family (또 하나의 가족)

Another Family (또 하나의 가족)

Another Family (또 하나의 가족)

Director: Kim Tae-yun (김태윤)

Synopsis: Crowdfunding was sourced to produce this real life legal drama about a woman who contracts leukemia while working at a Samsung factory. The film follows the family’s efforts overcome the disease as well as the corporation responsible.

The Berlin File (베를린)

The Berlin File (베를린)

The Berlin File (베를린)

Director: Ryoo Seung-wan (류승완)

Synopsis: The Berlin File was a big hit upon release earlier his year. With an all-star cast including Ha Jeong-woo and Jeon Ji-hyeon, the action-thriller showcased director Ryoo’s style like never before. For the full review, please click here.

The Fake (사이비)

The Fake (사이비)

The Fake (사이비)

Director: Yeon Sang-ho (연상호)

Synopsis: Following on from his hugely successful film King of Pigs, director Yeon Sang-ho employs his biting cultural critique stylisation to explore corrupted religious officials who are holding a small town to ransom.

Fasten Your Seatbelt (롤러코스터)

Fasten Your Seatbelt (롤러코스터)

Fasten Your Seatbelt (롤러코스터)

Director: Ha Jeong-woo (하정우)

Synopsis: Fasten Your Seatbelt – or ‘Rollercoaster‘ in Korean – marks superstar Ha Jeong-woo’s directorial debut. The comedy sees mismatched characters collide when their plane encounters a typhoon.

God's Eye View (시선)

God’s Eye View (시선)

God’s Eye View (시선)

Director: Lee Jang-ho (이장호)

Synopsis: Lee Jang-ho was a prominent director during the 1970s and ’80s, and after an 18 year hiatus has re-entered filmmaking with God’s Eye View. The film explores a group of missionaries whose faith wanes after abduction by Islamic rebels.

Genome Hazard (무명인)

Genome Hazard (무명인)

Genome Hazard (무명인)

Director: Kim Sung-su (김성수)

Synopsis: A co-production between Korea and Japan, sci-fi Genome Hazard depicts a man seemingly losing his sanity following the apparent death of his wife. Director Kim previously worked with Park Chan-wook and Son Il-gon.

If You Were Me 6 (어떤 시선)

If You Were Me 6 (어떤 시선)

If You Were Me 6 (어떤 시선)

Directors: Min Yong-keun (민용근), Lee Sang-cheol (이상철), Shin A-ga (신아가), Park Jung-bum (박정범)

Synopsis: Produced by the National Human Rights Commission, this omnibus film represents radically different stories about people living on the fringes of society, and the hardships they endure.

Moebius (뫼비우스)

Moebius (뫼비우스)

Moebius (뫼비우스)

Director: Kim Ki-duk (김기덕)

Synopsis: Moebius was marred by controversy before it was released.  Kim Ki-duk’s psychosexual thriller examines a family torn apart by adultery, penis dismemberment, and incest.

My Boy (마이보이)

My Boy (마이보이)

My Boy (마이보이)

Director: Jeon Kyu-hwan (전규환)

Synopsis: Town trilogy and The Weight director Jeon Kyu-hwan explores the life of an impulse disorder patient and his long-suffering family in My Boy. cultural attitudes towards mental health and the medical system are examined.

Nobody’s Daughter Haewon (누구의 딸도 아닌 해원)

Nobody’s Daughter Haewon (누구의 딸도 아닌 해원)

Nobody’s Daughter Haewon (누구의 딸도 아닌 해원)

Director: Hong Sang-soo (홍상수)

Synopsis: University student Haewon feels lonely following her mother’s departure for Canada, and contacts married lover – and professor – Seong-joon. A story of a young woman’s quest for identity.

Our Sunhi (우리 순희)

Our Sunhi (우리 순희)

Our Sunhi (우리 순희)

Director: Hong Sang-soo (홍상수)

Synopsis: Sunhi is a film student who, wishing to continue her studies in America, seeks a recommendation letter from her professor. Yet in doing so, she unwittingly allows 3 different men attempt to advise her over her future.

Rough Play (배우는 배우다)

Rough Play (배우는 배우다)

Rough Play (배우는 배우다)

Director: Shin Yeon-shick (신연식)

Synopsis: A sequel of sorts to Rough Cut, Rough Play is concerned with a rising film star who becomes involved with gangsters, leading to a downward spiral. Based on an idea by Kim Ki-duk, the film features K-pop idol Lee Joon from MBLAQ in the lead role.

Top Star (톱스타)

Top Star (톱스타)

Top Star (톱스타)

Director: Park Joong-hoon (박중훈)

Synopsis: Veteran actor Park Joong-hoon makes his debut with Top Star, a film about a talent manager who suddenly becomes a superstar. Yet as his popularity increase, so does his arrogance and determination to stay at the top.

 

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