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.