Author: Fred Hamilton

Georgia  (조지아) 2020

‘Georgia’ is a poignant short film released in 2020, inspired by the harrowing Miryang case of 2004, while using creative liberties to become its own story. Directed by the talented Jayil Pak, who graduated from NYU with a degree in film production, the film showcases his prowess as he delves into both commercial and artistic realms in the US and South Korea. The film has garnered considerable acclaim, winning the prestigious Sonje Award for Best Short Film at the Busan International Film Festival, along with the Grand Prix and NETPAC Award at the Busan International Short Film Festival. It was also nominated for a Blue Dragon Award, known as the “Korean Oscars,” featured in The New Yorker’s Screening Room Video Series, and ranked 6th on Screen Rant’s list of “10 Best Short Films Ever Made” according to Letterboxd.

At the heart of ‘Georgia’ are seasoned actors Lee Chae-kyung and Lee Yang-hee, who embody a grieving couple desperate for justice in the wake of their daughter’s tragic death. Their performances drive the emotional core, drawing viewers into their world marked by grief and relentless pursuit of truth.

The narrative unfolds as the distraught parents grapple with modern technology, attempting to compose a heartfelt message in Hangeul using a font named ‘Georgia’ – a design their daughter once redesigned to make compatible. Amidst their struggle, compatibility issues arise, leading to frustratingly empty squares where their words should flourish. The burden of their daughter’s creative legacy prompts them to seek a reinvestigation into her untimely death, leading them to want to create a banner to display outside the police station.

Despite its brief runtime, ‘Georgia’ captivates with its layered storytelling. The film intimately captures the everyday struggles faced by the parents, revealing the profound toll that their daughter’s case has inflicted upon their lives. Each shot is imbued with emotion, portraying their relentless determination to see justice served. Meanwhile, the families of the perpetrators—some of whom remain nameless—grow increasingly desperate, pleading with the bereaved couple to cease their public outcry, highlighting the societal indifference to the severity of the crime and the vague consequences faced by the offenders who continue living as before. This sentiment reflects the real-life Miryang case, which has stirred public outrage to the present day over the lenient judicial responses.

Visually, the film is a masterclass in cinematography. Warm, inviting scenes are contrasted with the chilling subject matter, creating a dynamic interplay that evokes deep empathy. The sound design further enriches the viewing experience, skillfully layering background noises that ebb and flow. The poignant use of the ‘Georgia’ font translates into empty squares, symbolizing the facelessness of the perpetrators who continue to evade accountability.

The film effectively highlights the severe injustices in the judicial process, showing how the perpetrators of the crime remain concealed while the victim’s identity is known publicly. With a palpable sense of frustration, the father confronts the police, accusing them of corruption as a banner proclaiming, “The police are always by your side,” looms above the station. The stark contrast in financial and social disparities between the victim’s family and the offenders is especially evident during their interactions at the police station questioning directly that police motto. The mother, suffering from a debilitating stroke, faces additional barriers in expressing her anguish and emotions, further amplifying the film’s emotional heft.

‘Georgia’ emerges as an extraordinary short film, brimming with raw emotional moments and striking visuals that resonate deeply leaving an indelible mark long after the credits roll.

Thread of Lies (우아한 거짓말) 2014

‘Thread of Lies’ (우아한 거짓말) is a gripping and emotionally charged film released in 2014. Directed by the talented Lee Han, who previously achieved box office success with ‘Punch’, the movie features a young and dynamic ensemble cast, including remarkable performances from Ko A-sung, Kim Hyang-gi, Kim You-jung, Chun Woo-hee, and Yoo Yeon-mi. A notable highlight is the return of Kee Hee-ae to the silver screen after a hiatus of 21 years, bringing depth and experience to the narrative. The film is an adaptation of the acclaimed novel ‘Elegant Lies’ by Kim Ryeo-ryeong. Kim also wrote ‘Wandeuk’, which Lee Han had adapted into ‘Punch’, making this his second consecutive adaptation of Kim’s work. ‘Thread of Lies’ earned Kim Hyang-gi the Best New Actress award at the 23rd Buil Film Awards, a testament to her outstanding performance.

The story revolves around a family of three. Kim Hee-ae plays Ryu Hyun-sook, a widowed mother, while Kim Hyang-gi portrays Lee Cheon-ji, a timid teenager. In stark contrast, the elder sister, Lee Man-ji (played by Ko A-sung), is a spirited and outspoken teenager. This family dynamic collapses when Cheon-ji commits suicide, leaving no evident explanation behind. Hyun-sook and Man-ji search for answers to what they may have overlooked. As the narrative unfolds, it delves deeply into the tumultuous emotional landscape the characters must navigate in the wake of Cheon-ji’s sudden death.

The film masterfully explores the profound impact of loss. The performances by the young cast are remarkable, allowing audiences to feel the weight of sorrow and the chaotic emotions characteristic of adolescence. The poignant interplay between Kim Hee-ae and Ko A-sung captures their confusion and heartache, ultimately leading them to a place of greater understanding and solidarity as the remaining members of their once-complete family.

Visually, the cinematography is striking, filled with intimate close-ups that invite viewers to connect deeply with the characters’ emotional states. The choice of angles and spatial relationships between characters illustrates their shifting dynamics and who holds conversational power in their interactions. This technique enhances the film’s exploration of grief and connection, making ‘Thread of Lies’ a profoundly impactful viewing experience.

The film boldly embraces the emotional weight associated with its subject matter, never shying away from the gravity of the themes it tackles. It balances heaviness with moments of tenderness while maintaining a compassionate and nonjudgmental perspective. Each character is richly developed, exhibiting complexity and depth that draws the audience into their emotional journeys.

The narrative is deeply unsettling, powerfully illustrating how words can inflict wounds directly to the heart. Beneath a facade of calmness, characters who seem unreactive and silent often harbour tumultuous emotions and hidden struggles, reminding us that appearances can be deceiving. The performances from the young cast are nothing short of remarkable, bringing this compelling story to life with an authenticity that resonates profoundly shaping a truly unforgettable cinematic experience.

In Our Prime (이상한 나라의 수학자) 2022

‘In Our Prime’ (이상한 나라의 수학자) is a pleasant 2022 film featuring the remarkable talents of Choi Min-sik and directed by Park Dong-hun. In this touching narrative, Kim Dong-hwi delivers a noteworthy performance as Han Ji-woo, which earned him multiple Best New Actor awards.

Set against the backdrop of the prestigious Donghun Academy, Ji-woo grapples with a dual struggle: fitting in socially with his affluent classmates while contending with the academic pressures of a demanding environment. His financial disparities become evident, creating a gulf between him and his peers. When he unwittingly takes the fall for smuggling alcohol and snacks into the dorms at the insistence of his so-called friends, he faces a harsh penalty—a month-long ban from the dorms. Determined to shield his mother from disappointment, he seeks a place to stay on campus rather than confessing the truth. This search leads him to an unexpected encounter with Choi’s character, an enigmatic figure known among students as the “Commie Janitor.” As the two develop a deepening bond, Ji-woo is astounded by the janitor’s extraordinary mathematical prowess, which becomes an avenue of hope for navigating his academic struggles.

Both characters are shrouded in secrets, particularly the janitor, whose astonishing mathematical background unfolds gradually, captivating Ji-woo. The film follows a simple storyline, which creates a cosy viewing experience.

Mathematics serves as the outward interest, and the film creatively incorporates overlays of mathematical equations across the screen, transforming the subject from mere abstract concepts to a dynamic visual experience. These elements aim to enliven the often daunting images of lengthy equations typically seen on a classroom whiteboard. Overall, the screenplay showcases a solid foundation with the mathematical language kept to a minimum.

The main characters, each embodying an outsider’s viewpoint, navigate a world shaped by privilege and societal expectations. Choi’s character, having relocated from North to South Korea, faces prejudice and isolation compounded by his hidden academic abilities, which evoke ignorance from his more privileged peers. In parallel, Ji-woo’s background as a product of a single-parent household and his reliance on a welfare scholarship further alienate him from his classmates who have access to resources he can only dream of.

Alongside Jo Yun-seo, who portrays Park Bo-ram, these central characters are painted with depth and complexity, compelling audiences to root for their triumphs against adversity. However, despite the film’s warm and inviting tone, it feels somewhat lacklustre. It conveys a sense of safety but falls short of offering profound insights, rendering it a familiar cinematic experience.

Love in the Big City (대도시의 사랑법) 2024

‘Love in the Big City’ (대도시의 사랑법) was an eagerly anticipated film released in late 2024, directed by E.oni (Lee Eon-hee), who graduated from the Korea National University of Arts in 1995 as part of its pioneering first class. Lee started in a more supporting role, receiving screenwriting credits for the influential film ‘Take Care of My Cat,’ hailed for shaping contemporary female-driven narratives in Korean cinema. This new film stars the acclaimed Kim Go-eun, whose significant star power has earned her top billing, alongside the talented Noh Sang-hyun.

The narrative of ‘Love in the Big City’ draws inspiration from the first section of Park Sang-young’s bestselling novel of the same name. It weaves a poignant tale centred on the deepening friendship between two central characters: Heung-soo (played by Noh) and Jae-hee (portrayed by Kim). The plot unfolds over several years as both characters navigate the tumultuous waters of love and self-discovery. Their initial encounter occurs at university, where they are both studying French—Heung-soo, captivated by the works of writer Albert Camus, and Jae-hee, a free-spirited soul who spent four years living in Paris.

Jae-hee’s vivacious personality attracts the attention of most male students, but it is their male French professor who catches Heung-soo’s eye. When Jae-hee sees them together on a night out, Heung-soo spirals into panic, fearing exposure and worrying that Jae-hee will reveal his secret. However, showcasing her loyalty, Jae-hee chooses to protect him from the threat of disclosure, igniting a profound friendship that becomes foundational in their lives. As their bond deepens, they become anchors for each other, navigating heartbreak and personal growth while facing societal acceptance challenges.

Unlike the original novel, which primarily centres on Park Young (Heung-soo’s role), the film gives equal narrative weight to Heung-soo and Jae-hee, incorporating Heung-soo’s perspective as a narrator. The film beautifully captures the essence of their connection, stemming from their shared passion for vibrant nightlife and their status as societal outsiders. The tight-knit bond they develop resembles that of siblings, defying the judgment of those around them and adding layers of emotional depth to their story, highlighted by moments of heartfelt tears.

Set against a contemporary backdrop, the film employs various modern filmmaking techniques to enhance its storytelling. Text messages flicker across the screen, adding an authentic touch to the narrative, while the frequent use of split screens portrays the simultaneous lives of Heung-soo and Jae-hee. A particularly striking moment occurs when the music abruptly halts, mirroring the shock experienced by a character upon receiving deeply unsettling news from someone close.

At its core, ‘Love in the Big City’ explores the theme of being an outsider—a relevant issue in a society that often struggles to embrace those who differ from the norm. While the novel delves deeply into the LGBTQ+ experience, especially from Jae-hee’s perspective, the film broadens its focus to present a more general commentary on the outsider experience and coming to terms with one’s identity. Nevertheless, it does not shy away from Heung-soo’s struggles, particularly highlighting the complex dynamics of his relationship with his mother after she discovers his sexual orientation.

This modern cinematic exploration highlights significant issues surrounding acceptance and sexual freedom, especially in a country that remains largely conservative in its discourse. While the film features familiar tropes, especially towards its conclusion, its emphasis on the profound friendship between its two leads sets it apart from typical romantic narratives. The writing also feels modern and accurate to the youth culture, with many memorable lines. Although it may have sidestepped some themes from the novel in pursuit of wider appeal—which feels slightly at odds with the film’s core message—both Kim Go-eun and Noh Sang-hyun deliver commendable performances, rendering ‘Love in the Big City’ an enjoyable and important viewing.

Address Unknown (수취인불명) 2001

Address Unknown (수취인불명) is a haunting feature film directed by the controversial Kim Ki-duk, released in 2001. The film draws inspiration from the director’s life experiences and those of his associates, plunging viewers into a bleak, often disturbing exploration of human nature. As with many of Kim’s films Address Unknown garnered more acclaim internationally than within Korea and was notably selected as the opening film for the Venice Film Festival in 2001. Set against the backdrop of a rural 1970s Korean village, the narrative intricately examines the profound impacts of the American military presence on its inhabitants.

Within this desolate village, Kim Ki-duk weaves together the lives of various characters, each reflecting the complicated dynamics spurred by the American military base nearby. The three main focuses are Eun-ok, a girl blind in one eye, who carries the burden of her brother’s reckless childhood game that left her scarred. Ji-hum is a victim of relentless bullying from two fellow villagers who ridicule his lack of English knowledge; even his father dismisses him, viewing his sensitivity as a sign of weakness and Chang-guk, a boy of mixed heritage who toils alongside a dog butcher. The butcher’s callous treatment of him only adds to Chang-guk’s sense of exclusion. Chang-guk holds his mother responsible for their predicament. She clings to the hope of reconnecting with Chang-guk’s absent father, an African-American soldier who returned to the States without them.

Instead of a singular narrative, Kim Ki-duk presents a tapestry of interconnected stories, each character’s fate intertwining through violent and brutal experiences. While the older generation clings to their pride from the Korean War, the youth are left adrift, their futures filled with uncertainty, with no money or prospects and aimless wandering often resorting to acts of depravity to fill their time.

From the beginning, the film immerses the audience in a relentlessly grim atmosphere. Its colour palette is strikingly muted—shades of grey and brown envelop the scenery, creating a cold, muddy landscape that lacks any semblance of beauty. Throughout the film, the ominous presence of aircraft flying overhead serves as a constant reminder of the war’s impact. Dialogue is sparse, particularly in the opening scenes, creating a sense of isolation and despair.

Kim Ki-duk skillfully examines the futility of violence, demonstrating how aggression often leads to self-destruction. One poignant scene features three characters walking side by side, all blind in one eye—a powerful metaphor highlighting how personal vendettas can blind individuals to their humanity. The village remains polarized over the American presence; some Koreans idolize their foreign counterparts, equating the ability to speak English with intelligence and success. Yet, this notion is sharply critiqued as the bullies who harass Ji-hum derive their English skills from adult magazines, showcasing a hollow understanding of the culture they idolize. James, an American soldier, is portrayed as a volatile drug addict, exuding aggression without provocation and descending into madness. Those who gain something of value from their interactions with the Americans do so at an appalling cost, with dire consequences.

The film does not shy away from graphic depictions, especially in its early scenes, highlighting animal cruelty and abuse in a stark and unsettling manner. Therefore, I would advise against viewing if you are sensitive to such content—this film will not provide a comfortable viewing experience. Having explored a significant portion of Kim’s oeuvre, Address Unknown is impactful in exploring the darker side of humanity as expected. However, the characters are not as deeply explored as in some of his other films with a smaller main cast, making it a notable but not extraordinary entry in his filmography.