Author: Fred Hamilton

Green Fish (초록물고기) 1997

“Green Fish” is the feature-length debut of Lee Chang-dong, who had previously found success in Korea as a novelist. He’d also received writing credits for both “To The Starry Island” (1993) and “A Single Spark” (1995), directed by Park Kwang-su. In this film, Lee skillfully blends his melodramatic style with elements of gangster noir. Domestically, the film won several awards and attracted a significant audience at the box office.

The story follows Mak-Dong (Han Suk-kyu), who returns home on a train after completing his military service. As he leans out of the train door, he notices a woman staring into the distance, also hanging out of a carriage door. When she turns and notices him, her scarf flies off and ends up draped over Mak-Dong’s face. Seeking to return the scarf, he finds her being harassed by three men. After intervening and helping her escape, Mak-Dong gets beaten up in the process. Seeking revenge, he exits the train and hits one of the men on the head with a commemorative stone from his military service. However, he fails to get back on the train before it departs, leaving him to trudge back to his hometown of Ilsan.

Upon his return, Mak-Dong is taken aback by the dramatic transformation of Ilsan during his time away. The once serene and picturesque countryside, filled with lush fields and gentle hills, has been overshadowed by a sprawling expanse of high-rise apartments, casting long shadows over what nature remains. The relentless march of urbanization now encircles his family’s quaint and remote home, altering the landscape he once knew so well. His mother and older brother, who has cerebral palsy, greet him on his arrival. He then meets up with his three other siblings, who struggle to get by. Mak-Dong assures them that he will earn money and suggests that the family come together to run a small restaurant or business.

Mak-Dong’s mother reveals that he missed a call from a mysterious woman. Intrigued, Mak-Dong immediately tries to return the call but finds her difficult to reach. Driven by curiosity, he sets off on a journey to Yeongdeungpo. Known for its vibrant nightlife, Yeongdeungpo starkly contrasts Ilsan’s nature-filled surroundings.

Upon arrival, the phone number leads him to a dimly lit nightclub. There, he once again encounters Mi-ae (Shim Hye-jin), the enchanting woman from the train who had held onto the bag he left behind. It becomes clear that Mi-ae navigates a world of charm and danger; she is not only a nightclub singer but also embroiled in a complex relationship with Bae Tae-gon (Moon Sung-keun), the imposing leader of a local gang.

Mak-Dong becomes increasingly drawn into Mi-ae’s tumultuous life as their paths intertwine. Through her connection to the powerful Tae-gon, he secures a position within the gang, entering a shadowy realm that offers financial opportunities and moral challenges. What began as the pursuit of a missed call transforms into an invitation to the harsh realities of life in the city’s underbelly.

Lee highlights the strong contrast between the two locations by focusing on Ilsan during the day and Yeongdeungpo at night, almost exclusively. While Mak-Dong is naive and innocent in his dreams and aspirations, Bae has become hardened and ruthless. The threat of urbanization looms over Ilsan—will it face the same fate as Yeoungdeungpo?

Lee Chang-dong employs reflections and glass throughout the film. Mi-ae and Mak-Dong are frequently shown with their faces reflected in mirrors, and the filmmaker also uses puddles and sunglasses to enhance the imagery. There are numerous instances where the characters are shot through glass, such as in a phone booth or a car windshield. These reflections highlight the vulnerability and true nature of the characters. At the same time, the phone booth serves as a space where Mak-Dong expresses his genuine desire to return to his childhood family life.

Lee utilizes many tropes of gangster noir, but the key distinction is that Mak-Dong’s character does not undergo a significant moral transformation. He remains steadfast and avoids becoming power-hungry or desperate. Despite his attraction to Mi-ae, neither can escape Bae’s grasp. Mi-ae occasionally boards a train and leaves, but she always returns. For Mak-Dong, his loyalty to his family—both biological and his new gangster family—drives him. His only dream is to live happily with his family, as they did when his father was alive. However, that dream is unattainable; just as Ilsan is no longer the place Mak-Dong remembered, his father is deceased, and his family is fragmented and hardened.

Mak-Dong embodies the past, while Bae represents the future—crafty and conniving but never reckless, always doing what it takes to survive.

Although “Green Fish” may not reach the high marks of Lee’s later works, it is a solid debut. The film showcases Lee’s interest in characters who are neither purely good nor bad. His sensitivity and melodramatic style, combined with the tropes of gangster neo-noir, result in an engaging film.

Parasite (기생충) 2019

Bong Joon-ho’s most significant success to date is “Parasite” (기생충), released in 2019. This groundbreaking film made history by being the first non-English film to win the Best Picture award at the Oscars. It is one of only three films to have won the Academy Award for Best Picture and the Palme d’Or. “Parasite,” a black comedy thriller, marked Bong’s return to a sole Korean production for the first time since “The Host.” It takes inspiration from Kim Ki-young’s 1960 film “The Housemaid,” creating a connection between two significant films in the history of Korean cinema.

The story follows Kim Ki-taek, played by Song Kang-ho, and Chung-sook, portrayed by Jang Hye-jin. They live in a semi-basement flat in Seoul with their daughter Ki-jung, played by Park So-dam, and their son Ki-woo, played by Choi Woo-shik. The family is facing challenges with unemployment and relying on low-paying temporary jobs. One day, Ki-woo’s friend Min (played by Park Seo-joon) presents them with a scholar’s rock, which is said to bring wealth. Before leaving to study abroad, Min suggests that Ki-woo misrepresent his qualifications to take over as the English tutor for Da-hye (Jung Ji-so), the daughter of the wealthy but naïve Park family. With Ki-jung’s help, they forge a certificate for him. Ki-woo, now posing as a Yonsei University student named “Kevin”—the same university attended by Bong—gets hired by the Parks.

Choi Yeon-gyo (played by Cho Yeo-jeong) is the Park family’s mother and the household’s most naïve member. Her husband, Park Dong-ik (the late Lee Sun-kyun), is a successful businessman but somewhat disconnected from reality. When Ki-woo learns that Yeon-gyo is searching for an art teacher for their son, Da-song (played by Jung Hyeon-jun), he recommends Jessica, a classmate of his cousin. However, Jessica is actually his sister, Ki-jung.

Not satisfied with just two family members working, the Kim family concocts a plan to remove the Park family’s driver and housemaid, Gook Moon-gwang (Lee Jung-eun), to secure jobs for Ki-taek and Chung-sook as well, regardless of the consequences.

The family’s plan to infiltrate their way into better jobs is central to the story, as they plot to do so at the expense of others. Their desire to escape their low social status and cramped semi-basement flat pushes them to take increasingly risky actions, ultimately leading them down a path from which there is no return.

In contrast to “Snowpiercer,” which emphasizes horizontal storytelling, “Parasite” employs vertical movement to underscore social hierarchies. The Kim family’s home is deep in Seoul, below ground level. When Ki-woo first visits the Park house, he climbs what seems to be an endless amount of hills and stairs, symbolizing the significant wealth gap between the two families. Bong himself has referred to “Parasite” as an “upstairs/downstairs” or “stairway movie,” with staircases symbolizing the differing social positions of the two families depicted in the film. Like The Housemaid, the stairs separate the housemaid from the family before she ultimately crosses the threshold.

While both houses utilize horizontal framing, the Kims’ semi-basement has a small ground-level window that allows limited light and enables them to see a man urinating outside. In contrast, the Park house features large sliding doors and windows that fill the interior with sunlight and offer a stunning view of their immaculate garden.

The film’s title, “Parasite,” was chosen by Bong for its double meaning, and he had to persuade the film’s marketing team to use it. He explained, “Because the story is about a poor family infiltrating and creeping into a rich house, it seems obvious that ‘Parasite’ refers to the poor family. I think that’s why the marketing team was a little hesitant. But if you look at it the other way, you could argue that the rich family is also a parasite in terms of labour. They can’t even wash dishes or drive themselves; they leech off the labour of poor families. So both families can be seen as parasites.”

The film explores themes of class conflict, social inequality, and wealth disparity. These issues have led some to associate the film with the term “Hell Joseon,” a satirical phrase that suggests living in modern South Korea feels like living in hell. This reflects the harsh realities people face in Seoul, including high youth unemployment rates, intense pressure to pursue higher education, a crisis in home affordability, and a growing socioeconomic gap between the wealthy and the poor. 

The Kim and Park families play central roles in the movie, highlighting contrasting experiences of wealth and poverty. The Kims struggle to escape their financial difficulties, yet they often behave callously toward others in similar situations. In contrast, the Parks embody a naïve stereotype of the wealthy; they speak English without fully grasping its meaning and remain oblivious to the world outside their privileged existence. 

Whilst Da-hye and Da-song are more accepting of Ki-woo and Ki-jung, their parents are very critical of Ki-taek, judging him harshly for his smell and avoiding physical contact with him. This tension highlights that true harmony is unattainable despite both families now under the same roof; one family does not truly belong.

Okja 2017

‘Okja’ is a film that was controversially produced by Netflix, directed by Bong Joon-ho, and released in 2017. The movie initially received boos at its Cannes premiere due to concerns about Netflix’s involvement and the potential threat it posed to traditional cinema and movie theatres. However, despite this backlash, ‘Okja’ eventually earned a standing ovation lasting four minutes at the festival, where it competed for the Palme d’Or. While it did not win the grand prize, the film received positive reviews from critics worldwide.

The story begins in 2007 when Lucy Mirando (Tilda Swinton), the CEO of the Mirando Corporation, announces that the company has been breeding a special type of “super pig.” Over the next ten years, 26 of these animals will be sent to farmers worldwide, and at the end of the competition, one will be crowned the best pig.

Ten years later, a young girl named Mija (Ahn Seo-hyun) lives in South Korea with her grandfather (Byun Hee-bong) and their beloved super pig, Okja. Mija and Okja share a close bond, spending much of their time together in the rural mountains of Korea. When Mirando spokesperson and zoologist Dr. Johnny Wilcox (Jake Gyllenhaal) arrives and declares Okja the best super pig, the company plans to take her to New York City, as agreed in the original deal made ten years prior. Devastated by the thought of losing her, Mija’s grandfather gives Mija a solid gold pig figurine as a replacement.

Mija, heartbroken, travels to Seoul in search of Okja. She spots her being loaded onto a truck and begins to chase after it. However, the truck is intercepted by the Animal Liberation Front (ALF). Thanks to ALF’s intervention, Mija and Okja manage to escape. Still, the underground mall they find themselves in proves too narrow for Okja to navigate. 

The ALF, led by Jay (Paul Dano), comes to their rescue again, protecting them from the Mirando employees before loading Okja into the back of their truck. K (Steven Yeun), another ALF member, is asked to translate their plan to Mija there. They intend to insert a recording device in Okja’s ear and then allow her to be recaptured by the Mirando Corporation, documenting the mistreatment of animals in their laboratories. 

Mija disagrees with this plan and instead asks to let her return to the mountains with Okja. However, K deliberately mistranslates her request, leading Jay to believe Mija has agreed to their plan. They leave, and Okja is recaptured by Mirando, leaving Mija determined to reunite with her but uncertain of everyone’s true intentions.

The film’s primary focus is the emotional relationship between Mija and Okja, which is evident from the start. When the Mirando Corporation comes to collect Okja as part of the arrangement made with Mija’s grandfather, she cannot part with her, as Okja is like family. Their names even share a syllable, like is common between two siblings.

Bong Joon-ho explores themes of translation and language barriers, similar to his previous film ‘Snowpiercer’. K, played by Steven Yeun, a Korean-American who is not fluent in Korean, intentionally mistranslates Mija’s words and tells her to learn English for her own good.

Mija and Okja’s special bond is highlighted early on when she is sleeping on Okja. The scene is reminiscent of “My Neighbor Totoro,” where Mei sleeps on top of Totoro. Bong has said that Totoro was one inspiration for the design of the title character.

Okja is portrayed with human-like qualities, displaying shyness, fear, intelligence, and a range of emotions. Mija often whispers in Okja’s ear, and Okja’s eyes react, keeping the contents of their conversations secret from both the audience and the other characters.

The film critiques capitalism, spotlighting the business-minded CEOs Nancy (also played by Tilda Swinton) and Lucy Mirando, who aim to maximize profits from their venture. The character of Dr Johnny Wilcox also reflects this theme, showing the disparity between his public persona and reality as the Mirando Corporation focuses on creating a favourable public image.

Before arriving in New York, Mija lives a carefree life with Okja and her grandfather, untouched by capitalist ideals. She dresses and appears unconcerned with fashion, in stark contrast to Lucy, who designs elaborate outfits for herself and her employees and brands them with her name.

Bong does not shy away from graphic content related to animal welfare, featuring scenes set in laboratories and slaughterhouses. Viewer discretion is advised for those sensitive to such material.

At first glance, the story of a girl and her pet super pig seems like a charming, family-friendly adventure. However, the film is much darker in tone while still infused with humour, which is characteristic of Bong Joon-ho’s style. While it includes comedy moments, particularly toilet humour, the overall feel remains heavy. While this movie may not reach the same heights as many of Bong’s other films, it does showcase impressive visual sequences and high-quality CGI that bring Okja to life. The realistic portrayal of Okja is essential to the film’s emotionally engaging narrative; without it, the story would not have resonated as effectively.

Snowpiercer 2013

‘Snowpiercer’, released in 2013, was Bong Joon-ho’s first international co-production and marked his debut in English-language filmmaking, with approximately 85% of the dialogue in English. The action thriller is based on the French graphic novel “Le Transperceneige” by Jacques Lob, Benjamin Legrand, and Jean-Marc Rochette. Bong’s interest in the graphic novel led Park Chan-wook’s production company to acquire the copyright for him. Initially, the film had a limited release in the US due to disagreements between Harvey Weinstein and Bong regarding the running time. However, positive reviews later resulted in a wider release. The story was subsequently adapted into an American television series of the same name.

In the film’s dystopian setting, the planet has frozen due to an event called CW7. For the past 17 years, the last surviving humans have lived inside a train that continuously circles the globe. This train is the last remnant of civilization, with strict hierarchies and social classes in place. The tail end of the train is cramped and filthy, and its inhabitants are fed mysterious “protein” blocks. Curtis (played by Chris Evans), along with his mentor Mr. Gilliam (John Hurt) and second-in-command Edgar (Jamie Bell), decides to challenge the established order. They plan to overthrow the elite represented by Minister Mason (Tilda Swinton), who serves as the spokesperson for Mr. Wilford, the enigmatic inventor of the train.

Curtis and his companions fight through guards to free Namgoong Minsoo, the train’s security designer, and his daughter, Namgoong Yona, played by Song Kang-ho and Go Ah-sung, respectively. This father-daughter duo reprises their relationship from Bong’s earlier film, “The Host.” With Namgoong Minsoo and Yona on their side, Curtis and his rebels push forward toward the front of the train, prepared to face whatever challenges lie ahead, no matter the cost.

The story being contained within the train could create a sense of claustrophobia or lack of variety. However, each carriage represents a different environment and purpose, illustrating how the train has become the entirety of the world. The train’s design leads to a natural left-to-right movement on-screen, with Curtis and the other rebels making their way through the train. One particularly intense fight sequence recalls the famous corridor fight from Park Chan-wook’s ‘Oldboy’.

The film also explores circular themes as the train completes its journey around the globe once a year. Revolutions occur, and then things settle back into balance, suggesting that the train and humanity exist in a cycle that must be maintained. Bong also creates religious imagery, describing the engine as ‘sacred’ and presenting the cult-like worship of Wilfrid as the saviour of humankind.

Bong’s film most overtly critiques societal wealth disparity, showcasing the stark contrast between the tail and head of the train. Minister Mason’s speech about the tail passengers being “shoes,” in comparison to her being a “hat,” symbolizes the need for people to know their place for the comfort of those at the top. This film is also the most violent of Bong’s works; the revolution is not accomplished through dialogue. In fact, the train has a notable language barrier, especially between Namgoong (Song) and Curtis (Evans).

‘Snowpiercer’ marked Bong’s first venture into English-language filmmaking, while contemporaneously, Park Chan-wook directed ‘Stoker’, and Kim Jee-woon made ‘The Last Stand’. Among these films, ‘Snowpiercer’ made the most significant impact, eventually being adapted into a television series, solidifying Bong’s name on the global stage. Despite being extraordinarily accomplished and maintaining a tight and engaging story, it falls slightly short compared to Bong’s previous few outings.

Mother (마더) 2009

‘Mother’ (마더) is Bong Joon-ho’s fourth feature film, released in 2009. It represents a significant departure from his earlier works, lacking the usual satire and comedic moments featuring primarily just in the first act. Following the success of Bong’s previous film, “The Host,” “Mother” premiered at the Cannes Film Festival. The film received widespread acclaim, earning numerous awards for Bong, his cinematographer Hong Kyung-pyo, and the cast, particularly Kim Hye-ja in the lead role, both internationally and domestically.

Kim Hye-ja portrays an unnamed widowed mother who lives with her son, Yoon Do-joon (played by Won Bin). Do-joon is a gentle young man with an intellectual disability, which leads others to label him as a ‘retard’. This taunting often triggers violent outbursts, as his mother has taught him to “kick their arse” if they are rude to him. His best friend is Jin-tae (Jin Goo), a local troublemaker his mother considers a bad influence.

When Do-joon is nearly run over by a car, Jin-tae drives them both to the golf course in search of the BMW involved. In retaliation, Jin-tae kicks off the car’s wing mirror before the pair scuffles with the car’s driver and passengers. Later, at the police station, Jin-tae allows Do-joon to take the blame for the broken mirror, as Do-joon cannot remember what happened when he tried to kick it. Consequently, the cost of the repair falls on the ‘Mother’.

Do-joon later goes to Bar Marmalade, where he becomes intoxicated while waiting for Jin-tae. Meanwhile, Jin-tae secretly retrieves an expensive golf club that he had previously thrown into a lake at the golf course. When Mina, the bar owner’s daughter and Jin-tae’s secret girlfriend, returns home, Do-joon attempts to flirt with her before being shown the door.

As Do-joon makes his way home, he notices a schoolgirl named Moon Ah-jung walking ahead. In his drunken stupor, he attempts to engage her in conversation. However, she quickly turns into a dark alley to avoid his advances. In an outburst of fear and anger, she throws a rock from the shadows, which lands right at Do-joon’s feet.

The scene shifts to Do-joon lying in bed with his mother, where he is seen holding her breasts, highlighting the unusual sexual undertones in their relationship, which had been hinted at earlier. The next day, Ah-jung’s body is discovered on the roof of the building, at the very spot where she had last been with Do-joon. A golf ball bearing Do-joon’s name, which he had previously been shown with at the police station, is found at the crime scene. As a result, Do-joon is arrested and charged with Ah-jung’s murder.

Do-joon is questioned alone by the police and is coerced into signing a false confession as the detectives exploit his disability. His mother cannot accept that Do-joon is the murderer, despite the detectives’ insistence that the case is closed. Determined to find the real killer, she embarks on her own investigation.

Unlike Bong Joon-ho’s other films, “Mother” has a dark tone and offers little comedic relief. The first act establishes the complex relationship between Do-joon and his mother, which Bong likened to that of Norman Bates and his mother in “Psycho.” It also introduces the mother’s illegal acupuncture business, which she operates without a license. Bong also highlights Do-joon’s character traits, including his forgetfulness, susceptibility to manipulation, and tendency to erupt in violence when mocked.

Bong uses repetition of scenes to illustrate the evolving relationship between the Mother and Do-joon from the film’s first section to the latter. In the film’s second half, rapid cutting is employed to accelerate the investigation, with a question being posed in one scene before swiftly transitioning to a different location where the Mother receives the answer. This cutting also alters the perception of time. At the same time, the film’s first half follows a primarily linear narrative, while the second half frequently shifts between past and present.

Memory plays a crucial role in the story. Do-joon struggles to remember things quickly, often rubbing his temples to try and recall information. However, he doesn’t always remember what he wishes to do. The ability to forget specific memories becomes significant, as does the Mother’s knowledge of acupuncture, notably a pseudoscientific treatment method.

The unnamed ‘Mother’ indicates that Bong wanted her character to be more universal. Her excessive love and overbearing nature create an uncomfortable dynamic in their relationship. However, the Mother believes she is doing her best to care for and provide for her son, who is vulnerable to being taken advantage of. This is exemplified by Jin-tae, who initially lets Do-joon take the blame for the mirror incident and only assists the Mother with her investigation after she pays him.

‘Mother’ is a powerful film that captivates right from the opening sequence, where the mother dances in a field. This intriguing and engaging start keeps you hooked from the very first minute until the end. The cast, led by Kim Hye-ja, delivers outstanding performances throughout. The screenplay and characters are well-developed, and the setup is meticulously crafted before the investigation unfolds. When the truth is finally revealed, it leads to a fitting conclusion that resonates with everything that has happened before.