Jiseul (지슬)

Hanguk Yeonghwa’s Top Ten of 2013

As 2013 draws to a close, so it becomes time to discuss the best releases from the Korean film industry from the year.

It’s been quite  year for Korean film. According to the Korean Film Council the industry crossed over the 200 million admissions mark for the first time in history, averaging just over 4 films per person; recently released drama The Attorney (변호인), based on former president Roh Moo-hyun’s early career, broke the box office record for single day admissions in December attracting over 540,000 moviegoers upon opening; Bong Joon-ho’s Snowpiercer (설국열차), the most expensive film in Korean cinema history, was released to critical and commercial acclaim; and Moon Byung-gon’s Safe (세이프) won the short film Palme d’or at the Cannes Film Festival, the first time the award has been bestowed upon a Korean director.

But back to the issue at hand – the top ten. ‘Best of’ lists always feel somewhat disingenuous as it’s impossible to have seen simply everything to emerge from the industry over the past 12 months. This also unfortunately applies to this particular list, particularly in regards to films released over the past month. So, in the interest of full disclosure, here are some great films that could potentially have been included in the top ten had they been seen – Moebius (뫼비우스)Hope/Wish (소원), Way Back Home (집으로 가는 길), and The Attorney.

However, without further ado, let’s press on with Hanguk Yeonghwa’s Top Ten of 2013:

Joint 1st – Jiseul (지슬)

Jiseul (지슬)

Jiseul (지슬)

While Jiseul premiered at Busan in 2012, it was officially released nationwide in 2013 and for that reason jointly takes the number 1 spot. Director O Muel’s breathtaking film about the 1948 Jeju Island ‘Uprising’ (or rather ‘Massacre’) is one of those rare films that transcends the medium into art. The stunning cinematography is exquisitely captured through the black and white tones, while the realism-inducing long takes convey the atrocities endured by the Islanders with palpable melancholy. Shockingly, Jiseul was not submitted as Korea’s entry for the Academy Awards (with the honour instead going to Juvenile Offender), a presumably political decision due to the negative manner in which the Korean military are portrayed – a genuine shame as Jiseul is one of the best Oscar contenders Korea has produced in quite some time. Nevertheless, director O Muel’s beautifully haunting tribute is an absolute must-see. (See the full review here).

Joint 1st – Han Gong-ju (한공주)

Han Gong-ju (한공주)

Han Gong-ju (한공주)

Han Gong-ju is without a doubt the best new film of 2013. Staggering powerful, heartbreaking and courageous, the film tells the story of high schooler Gong-ju who is forced to relocate to a new school due to a secretive event in her past. Director Lee Su-jin has crafted an incredible film that wonderfully captures many of the social issues in contemporary Korea, confronting the themes of selfishness and corruption directly and in doing so evokes a maelstrom of emotional resonance. It is no stretch to say that Han Gong-ju is like a raw Lee Chang-dong film, one full of maturity and awareness yet with added indignation. Staggeringly, the film is also director Lee Su-jin’s feature-length directorial debut and, should he continue to helm films of this quality, Korea will have a new auteur in the making.

2nd – Pluto (명왕성)

Pluto (명왕성)

Pluto (명왕성)

Director Shin Su-won proves her win at Cannes for Circle Line (순환선) was no fluke with the release of the masterful Pluto. A former teacher before her venture into filmmaking, director Shin deftly employs her knowledge of the insanely-competitive Korean education system in exploring how students can become increasingly amoral in the bid for perfect grades  and an all-important university placement. What makes Pluto so special is not only the examination of corruption within the system but also the character development as Joon – wonderfully acted by Lee David – gradually succumbs to violent ambition. (See the full review here).

3rd – My Place (마이 플레이스)

My Place (마이 플레이스)

My Place (마이 플레이스)

The best kind of documentaries are the ones that serve to enlighten, yet director Park Moon-chil goes one better with My Place in that he too is on a quest for knowledge. Initially believing that his sister is somewhat irresponsible for wishing to be a single-parent, director Park attempts to understand his sibling by investigating her past, which in turn leads to startling discoveries about his entire family. Through exploring cultural and generational differences as well as revealing – and attempting to heal – family trauma, My Place is a wonderful testament to family and forces audiences to address how well they know their own relatives. (See the full review here).

4th – Snowpiercer (설국열차)

Snowpiercer (설국열차)

Snowpiercer (설국열차)

A pulse-pounding thrill-ride from start to finish, Bong Joon-ho’s Snowpiercer is a momentous sci-fi epic. Based on the French comic Le Transperceneige, the film depicts a world devoid of life due to global warming with the last remnants of humanity hurtling around the world on the perpetually moving train ‘snowpiercer.’ What makes the film so fascinating is the manner in which  the class system is explored, examining the nature of revolution, the brainwashing inherent in education, as well as the potent symbolism laced throughout – particularly from Tilda Swinton’s brilliant channeling of Margaret Thatcher as the villainous Mason. Snowpiercer is also a triumph of production design, and ranks among the best science fiction films to emerge from the industry. (See the full review here).

5th – The Fake (사이비)

The Fake (사이비)

The Fake (사이비)

Brutally intense and profoundly disturbing, The Fake is a phenomenal indictment of the fraud that exists within society. The Korean title ‘Saibi’ is specific to religion, and potent symbolism abounds; the looming threat of a flood sends the local populace into a religious fervour as they compete for the ‘limited’ places in heaven. Interestingly director Yeon Sang-ho marries such weighty material with the generic conventions of the western, and the result is extraordinary – should the audience align with the fraudulent man of God, or the truthful-yet-devilish western anti-hero? (See the full review here).

6th – New World (신세계)

New World (신세계)

New World (신세계)

Taking a cue from Coppola’s The Godfather, director Park Hoon-jeong’s gangster epic New World is among the best examples of the genre in recent memory. As a screenwriter on I Saw The Devil and The Unjust director Park has experience in weaving bloodthirsty thrillers, and his vision in constructing a tale of vengeful gangsters attempting to fill a power vacuum is brilliant. The double-crosses and Infernal Affairs-esque clashes between men on both sides of the law are made all the more powerful with the stunning cinematography and visual finesse. (See here for the full review).

7th – Cold Eyes (감시자들)

Cold Eyes (감시자들)

Cold Eyes (감시자들)

A remake of Hong Kong action-noir Eye in the Sky, Cold Eyes is a vastly different adaptation set in the shimmering metropolis of Seoul. The slick thriller is incredibly entertaining not only for the great pacing and exhilarating cat-and-mouse chase sequences, but also for the wonderful casting. Han Hyo-joo, so often relegated to being a pretty love interest, is excellent as the bold, smart and independent rookie, while Jeong Woo-seong is great as the steely and manipulative villain. (See here for the full review).

8th – The Berlin File (베를린)

The Berlin File (베를린)

The Berlin File (베를린)

The Berlin File marks a genuine stage in evolution for director Ryoo Seung-wan. His previous films have typically been highly entertaining action-thrillers often serving to revere classic sequences of yesteryear; however with The Berlin File the high-octane set-pieces, kinetic camera movement and rapid editing combine to create his most exhilarating film to date. With an all-star cast featuring Ha Jeong-woo, Jeon Ji-hyeon, Han Seok-kyu and Ryoo Seung-beom, The Berlin File is one of 2013’s great genre films. (See here for the full review).

9th – How to Use Guys with Secret Tips (남자사용설명서)

How to Use Guys with Secret Tips (남자사용설명서)

How to Use Guys with Secret Tips (남자사용설명서)

2013 was full of cliched and generic rom-coms – which made How to Use Guys with Secret Tips even more refreshing. Criminally under-seen due to a release date alongside Miracle in Cell No. 7 and New World, director Lee Won-seok’s debut is simply bursting with colour, vitality, inventiveness, and most importantly – brains. Spinning the cliches upside down, director Lee continually pokes fun at modern masculinity as well as highlighting the sexism that exists in contemporary Korea in a uniquely humourous fashion, combining to produce one of the most enjoyable and downright fun rom-coms in quite some time. (See here for the full review).

10th – Lebanon Emotion (레바논 감정)

Lebanon Emotion (레바논 감정)

Lebanon Emotion (레바논 감정)

Premiering at the Jeonju International Film Festival, director Jung Young-heon’s Lebanon Emotion was far and away the most interesting and engaging drama to appear. Initially a potent tale of grief and despair, the film transforms into an otherworldly story of togetherness, revenge, and danger. Director Jung’s history as a cinematographer is apparent in every scene, featuring gorgeously haunting landscapes alongside some great character development and quirky humour. Bizarrely missing out on the top prize at JIFF, Lebanon Emotion was rewarded at Moscow by scooping the best director award, and he is certainly a talent to watch. (See here for the full review.)

Film News
Pluto (명왕성)

Pluto (명왕성) – ★★★★☆

Pluto (명왕성)

Pluto (명왕성)

The Korean education system is infamous for it’s grueling and oppressive culture, and the stress imposed on youngsters has often been the subject of film. Typically such themes appear in the form of teenage horrors, such as the successful Whispering Corridors series, whereby the pressures of constant examinations and competition from other students prove too much to bear for their very souls.

With Pluto (명왕성), director Shin Su-won (신수원) takes a dramatic-thriller approach to the topic and the result is fantastic. Employing the technical prowess and artistic sensibilities that earned her the Canal Plus prize for her short Circle Line (순환선) at Cannes, director Shin deftly explores the weighty subject matter with skill. Even more impressive is that Pluto manages to straddle both the independent aesthetic realm as well as more mainstream territory, a remarkable achievement given that it’s only her second feature film. While some critics have lamented the inclusion of more generic features, it is a wise move on director Shin’s part as it solidifies her name through the industry as a talent to watch.

At a highly prestigious high school that produces some of the most elite students in Korea, top student Yun-jin (Seong Joon (성준) is found murdered in a nearby forest. Immediately suspected is frosty roommate Joon (David Lee (이다윗), yet with a sound alibi his release is assured. Yet Joon knows much more about the circumstances surrounding Yun-jin’s death than he reveals, and gathers the most elite student group at school together to discover the killer.

The elite students run the school, forging a secret society

The elite students run the school, forging a secret society

Pluto begins with all the hallmarks of a highly competent independent thriller, as Yun-jin is stalked in the woods until he meets his untimely demise in suitably shocking fashion. Yet from such humble beginnings director Shin skillfully intertwines such low-budget aesthetics with thriller conventions, as prime suspect Joon is immediately questioned by detectives; however his intelligence proves too great for the officers to cope with, and with zero evidence, he is released. Both realms are consolidated incredibly well through the use of the non-linear narrative as Joon – sporting rebellious blue hair – in the present holds suspects captive as time counts down, while flashbacks to Joon’s admission to the school convey the character driven foundations.

The method is wonderfully effective in articulating the intense pressures enforced on students, whilst simultaneously providing each member of the school motive for Yun-jin’s murder. Director Shin approaches the topic with keen insight – perhaps unsurprising given her history as a teacher – as she emphasises how parental wealth, greedy tutors, and corrupt school officials are all accountable in the creation of highly intelligent yet morally questionable youths. And their actions are certainly unconscionable, as awful acts of cruelty are performed within the elite secret society of top tier students, ranging from sexual assault, bullying, bludgeoning animals and vandalism that ultimately result in suicide and murder.

Acts of vandalism are overlooked by officials in the bid to produce the best candidates

Acts of vandalism are overlooked by officials in the bid to produce the best candidates

Yet as ‘evil’ as their deeds are, director Shin fully develops each elite student as a victim in their own right. The lack of parental guidance and the encouraged desire to win at any cost pushes them into psychological instability. Their wildly spinning moral compass is, director Shin conveys, the result of a fundamentally corrupt education and class system that is doomed to repeat itself. The narrative wonderfully explores what happens when someone dares to challenge such a system through Joon, as he attempts to breach a social and educational class supposedly beyond his reach. Joon’s creativity and alternative perspective on life is brilliantly realised through his discussion on Pluto’s demotion, a theory that superbly encapsulates the very essence of the story – the belief that the sun/exam results are the center of the universe/life is not only flawed but wholly arrogant.

Lee David (이다윗) is highly competent in his performance as Joon. The novice actor does well in conveying an initially hopeful and interesting young man whose jealousy and desire leads him on a darker path. As his originality and creativity are quashed for the sake of exam results, the transformation into amorality is wholly believable.

Yet despite so many positive accomplishments, the final act was lamented by some critics for its use of generic conventions. This is an understandable criticism although one that is somewhat nitpicking. What director Shin has achieved with Pluto is remarkable, as she has taken a film with a keen social message and made it mainstream; a two-for-one in promoting debate on a serious Korean issue as well as solidifying her reputation as director of talent.

The intense stress and competition becomes to much to bear for Joon

The intense stress and competition becomes to much to bear for Joon

Verdict:

Pluto is an excellent exploration of the intense Korean education system, and the highly intelligent yet morally questionable youth that it creates. It’s a stunning feature film from director Shin Su-won, whose keen eye for symbolism and character study is articulated throughout. One of the great strengths of the film is the manner in which director Shin combines both the independent aesthetic with the mainstream thriller, simultaneously promoting debate on an important social issue as well as cementing herself as a quality director. Thoroughly recommended.

★★★★☆

International Women's Film Festival in Seoul (서울국제여성영화제) Reviews
The 15th International Women's Film Festival in Seoul

WFFIS 2013: The 15th International Women’s Film Festival in Seoul – New Currents

The 15th International Women's Film Festival in Seoul

The 15th International Women’s Film Festival in Seoul

The 15th installment of the International Women’s Film Festival in Seoul (WFFIS) is due to commence from May the 24th to the 30th, in the trendy Sinchon district of the capital. With the catchphrase, “see the world through women’s eyes!”, the festival celebrates the achievements of female filmmakers throughout the world by screening an eclectic selection of films that focus on women’s issues.

The festival will launch with American director Sally Potter’s Ginger and Rosa, a film that explores the early days of feminism in 1960s London through the experiences of two teenage girls. From there, films from around the world will be shown that will promote and explore a variety of discourses.

For the full list of films you can visit the official website here, but for an in-depth look specifically at the Korean films in the festival – as well as the official WFFIS trailer – please see below.

New Currents Category

Grape Candy (청포도 사탕: 17년 전의 약속)

Grape Candy (청포도 사탕: 17년 전의 약속)

Grape Candy (청포도 사탕: 17년 전의 약속)

Director: Kim Hee-jung (김희정)

Synopsis: Released in 2012, director Kim Hee-jung’s independent drama Grape Candy explores the life of Sun-joo who is busy making preparations for her upcoming wedding. When her fiance is involved in an accident, she bumps into estranged middle school friend So-ra at the hospital and discovers the two are due to embark on a business trip together. Filled with jealousy, Sun-joo joins the trip but in doing so suppressed memories from the past begin to surface. See below for the trailer:

Love Games (연애놀이)

Love Games (연애놀이)

Love Games (연애놀이)

Director: Joung Yu-mi (정유미)

Synopsis: This animated 16 minute short film portrays the different kinds of games that couples play to bring them closer together, from mundane picnic events to more exciting endeavours.

Modern Family (가족시네마 )

Modern Family (가족시네마 )

Modern Family (가족시네마 )

Directors: Shin Su-won (신수원), Lee Soo-yeon (이수연), Kim Seong-ho (김성호), Hong Ji-young (홍지영)

Synopsis: Omnibus film Modern Family is comprised of 4 shorts that examine the family unit. In Circle Line, director Shin Su-won depicts the life of an unemployed middle-aged man. Director Lee Soo-yeon depicts the possible future of motherhood in E.D.571, involving a woman in 2030 who sold her eggs to repay student loans. In Good Company is about pregnant women in the workplace by director Kim Seong-ho. Finally director Hong Ji-young explores family trauma in Star-shaped Stain.

Circle Line (순환선)

Circle Line (순환선)

E.D.571

E.D.571

In Good Company (인 굿 컴퍼니 )

In Good Company (인 굿 컴퍼니 )

Star-shaped Stain (별 모양의 얼룩)

Star-shaped Stain (별 모양의 얼룩)

 

 

 

 

 

 

 

 

 

 

My Father's Emails (아버지의 이메일)

My Father’s Emails (아버지의 이메일)

 My Father’s Emails (아버지의 이메일)

Director: Hong Jae-hee (홍재희)

Synopsis: My Father’s Emails is an autobiographical documentary based on the life of director Hong’s father, who wrote an email detailing his experiences through periods of Korean history.

Nora Noh (노라노)

Nora Noh (노라노)

Nora Noh (노라노)

Director: Kim Sung-hee (김성희)

Synopsis: Fashion designer Nora Noh is the subject of this documentary. Her importance in the world of fashion as the first person in Korea to hold a fashion show, as well as her other contributions, are explored and profiled.

Pluto (명왕성)

Pluto (명왕성)

Pluto (명왕성)

Director: Shin Su-won (신수원)

Synopsis: Festival favourite Pluto has garnered a lot of positive critical response since its premiere at the Busan Film Festival in 2012. The film explores the incredible pressure and bullying that transpires in Korean high schools, as well as the power wielded – and abused – by elite students. While several films have tackled the challenging subject matter, Pluto‘s originality and powerful resonance has led to invitations to international festivals including Hong Kong and Berlin. See the trailer below:

Tour of Duty (거미의 땅)

Tour of Duty (거미의 땅)

Tour of Duty (거미의 땅)

Director: Kim Dong-ryung (김동령), Park Kyoung-tae (박경태)

Synopsis: Documentary Tour of Duty examines a dilapidated camp town that once hosted the US military. Directors Kim and Park follow 3 women, and reveal their secrets and memories.

You Were So Precious (너무 소중했던, 당신)

You Were So Precious (너무 소중했던, 당신)

You Were So Precious (너무 소중했던, 당신)

Director: Baek Mi-young (백미영)

Synopsis: This animated co-production with France portrays an underground world where forgotten things dwell. When a child monk decides to return one to its owner, events are set in motion.

Festival News International Women's Film Festival in Seoul (서울국제여성영화제) Korean Festivals 2013