KOFFIA 2014 Review: Fashion, Feminism and Film Collide in NORA NOH

By Hieu Chau

Fashion has always played a huge part in shaping films despite the fact that costuming is easily one of the most overlooked aspects in film discussions. On a textual level, fashion informs character - one can tell a whole story about a person simply based on costume choices. And this can easily apply to people in reality as well. Then there’s the effect fashion has outside of the film on a cultural and aesthetic level, where audiences seek to emulate and recreate the looks of the stars they see on screen.

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KOFFIA 2014 Review: HOPE Is An Obvious Yet Successful Tearjerker

By Hieu Chau

It wouldn’t be entirely wrong to say that Korean film has some affinity for children. Whether it’s a crowd-pleasing comedy like Miracle in Cell No. 7 or something a bit darker like Silenced, there really isn’t much of a shortage when it comes to stories about children in Korean cinema. Hope, last year’s recipient for Best Film at the Blue Dragon Awards (beating out films including Snowpiercer, New World, The Berlin File and The Face Reader), is one other such film with a story that’s motivated by children.

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Review: RED FAMILY's High Concept Suffers From Stilted Delivery

By Pierce Conran

Though as a theme it has spawned some of Korean cinema's biggest hits, including Shiri (1999), Joint Security Area (2000), Silmido (2003), Taegugki (2004) and Welcome to Dongmakgol (2005), the representation of North Korea on screen has always been a thorny one. It's a sensitive topic that is consistently affected by ebbing political tides. Though many different styles of narrative crop up relating to the Korean republic's Northern neighbor, those that have been most palatable to the public have featured themes of camaraderie across the demilitarized zone, films that stripped characters (mostly soldiers) of their ideologies and showed them for what they really were, which is of course people that are not all that dissimilar from one another.

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Review: PLAN MAN Takes A Few Wrong Turns

By Pierce Conran

The 2014 commercial Korean film calendar kicked off with Plan Man, a light and colorful romantic comedy that carries on in a straightforward manner with plenty of humor until a second half that squeezes in some subtle commentary on the regimented lifestyle of working Korean citizens.

Jung-seok is a librarian with a case of obsessive compulsive disorder. He gets up at the same time every day and plans the rest of his life down to the minute, to the point where he even catches the same street light just as it turns green on his way to work in the morning. He falls for a convenience store attendant who exhibits similar tendencies but when she professes a desire for someone who can challenge her nervous tendency to keep everything in its place, he decides to shake up the strict order in his life to steal her heart. He does so with the help of So-jung, a singer-songwriter who is his exact opposite. Though it's someone just like him who first caught his eye, perhaps he will discover that opposites do indeed attract.

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Review: Kim Yun-seok on Form in SOUTH BOUND

By Pierce Conran

Normally, when a Korean film's characters decamp to the countryside, we can expect terrible things to happen. But Yim Soon-rye's new film offers a refreshing take on this standard formula. While bad things also befall the characters in South Bound, there's a welcome levity to the proceedings.

A family man decides to move his family to an island when life under the finger of the government becomes too much for him. He smashes CCTV cameras in his neighborhood, refuses to have his fingers printed at the police station (during one of his many visits), and thumbs his nose at politicians. Along with his wife and his two youngest children, he moves to a small island off the southern coast to begin a new life in a dilapidated hut, free from the shackles of oppression.

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Review: Action Thriller THE TARGET Misses the Mark

By Pierce Conran

Normally we read about which new Korean thriller has had its remake rights snatched up by a Hollywood studio (news which invariably leads to a fervent chorus of opposition among Korean film fans) but these days we're starting to see an increasing amount of major Korean releases based on overseas properties. If we discount Japan, recent Korean films based upon foreign films include the 2012 romcom All About My Wife (based on the 2008 Argentine film Un novio para mi mujer) and last summer's surveillance thriller Cold Eyes (based on the Johnny To-producer HK feature Eye in the Sky from 2007). Following in their footsteps is the action-thriller The Target, this time based on 2010's Point Blank from France.

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Review: Tone-deaf MONSTER Exhibits Unusual Cruelty Towards Women

Ingenue Kim Go-eun gets her first top billing in director Hwang In-ho’s uneven and sadistic revenge thriller Monster. Exhibiting the same irreverence towards genre as in his previous film Spellbound (2011) but with none of the panache, Hwang fails to keep things on track with a slow to start narrative, a young star out of her depth and a disturbing streak of misogyny.

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PiFan 2014 Review: Horror Comedy MOURNING GRAVE Aims Low But Hits Its Mark

By Pierce Conran

Korean horror has been in the midst of a rough streak for the past half decade. Relying on worn out themes, new works been have trotted out regularly every summer but even with lowered expectations, each year has put forth an increasingly lackluster and listless lineup of new films. Trying his best to buck the trend is the experienced short filmmaker Oh In-chun, who steps up to the feature-length plate with his horror-comedy debut Mourning Grave.

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News: ROARING CURRENTS Lays Waste to Korean Box Office Records

By Pierce Conran

Roaring Currents has turned the Korean opening weekend record to rubble with 3.34 million admissions ($25.65 million) during its first weekend, which accounted for 65.7% of the marketplace. That represents a 41% increase over the former record, set by Transformers 3 in 2011 (2.37 million). The film has already banked 4.75 million viewers and $35.4 million since its debut five days ago.

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Review: Bleak And Gripping, HAEMOO Prizes Character Over Spectacle

By Pierce Conran

To date, the summer of 2014 has seen the majority of mainstream Korean films fall into either of two categories: the noir thriller or the period blockbuster. While a handful of terrific genre pieces, namely A Hard Day and Confession, have succeeded in spite of this inertia, it's been high time for something a little different. Along comes Haemoo, a character-driven blockbuster set on a boat that is based on a play which is itself drawn from a real life incident.

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Review: Strong Scenes Doth Not a Narrative Make in Genre-Hopping COMMITMENT

By Pierce Conran

Following on from this year's Secretly Greatly, another action-drama featuring Korean idols playing young North Korean spies who stay undercover in the south only to be targeted by their homeland, Commitment announces itself as a medley of genres, as commonly witnessed in commercial Korean film. Both works hail from Korean studio Showbox, but while Secretly Greatly starts out as a neighborhood comedy-drama, this new effort reserves its opening beats strictly for the thriller genre.

After his father's failed mission in the South, Myung-hoon and his sister are sent to a prison camp in North Korea. Accepting his own mission as an undercover spy to protect his sister from further harm, Myung-hoon infiltrates the south, where he poses as a high school student. He ends up helping a bullied girl in his school while going out interrogating people to learn what happened to his father during his free time. Soon his government learns what he is up to and sends someone to kill him.

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Review: Bat-Swinging Gorilla Feature MR GO Is Hit and Miss

By John A. Riley

The premise of Mr Go is that a trained gorilla from China becomes a major league baseball star in South Korea. On paper, this sounds like one of the parodic Troy McLure vehicles from The Simpsons. Mr. Go does indeed paint in broad strokes, seeking wide appeal. It’s a rare Korean film, and is also a co-production with China.

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News: Jeon Do-yeon And Kim Yoon-seok In Talks for New Lee Yoon-ki Film

By Rex Baylon

For those Korean film fans that have an affinity for quiet settings and slightly damaged female characters, the films of Lee Yoon-ki have acted as cinematic catnip. Having made a reputation for himself in the film festival circuit for Rohmerian style dramas featuring female protagonists muted by some tragic event in the past the director has been off the radar since 2011 after the release of his fourth feature, Come Rain Come Shine. There have been various rumors about forthcoming projects and though none have added up to much news has surfaced that award-winning actress Jeon Do-yeon (Secret Sunshine, 2007; Happy End, 1999) and superstar Kim Yoon-seok (Thieves, 2012; The Chaser, 2008) are in talks to star in Lee’s fifth feature, titled A Man and a Woman.

Produced by b.o.m Film with an agreement by CJ Entertainment to distribute the finished picture, the new project would reunite Lee with Jeon after their 2008 collaboration My Dear Enemy, which played at several festivals around the world and became a critical darling. The only thing confirmed about the script is that the film will focus on the passionate relationship of middle-aged lovers. Of course, all this pondering on the plot will be moot if the two actors can’t reach an agreement with Lee and the producers.

Though Jeon and Kim have shown strong interest in working with Lee on this project both actors already have full schedules this year with Jeon Do-yeon appearing with Lee Byung-heon in the period drama Memories of the Sword and Kim Yoon-seok pulling double duty on Sea Fog and the upcoming Tazza sequel.

Reviews and features on Korean film appear regularly on Modern Korean Cinema.  For film news, external reviews, and box office analysis, take a look at the Korean Box Office Update, Korean Cinema News and the Weekly Korean Reviews, which appear weekly on Monday, Wednesday, and Friday mornings (Korean Standard Time).

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Review: Hong Sang-soo's Beautiful But Slightly Strange OUR SUNHI

By John A. Riley

Some critics have characterised Hong Sang-soo's latest film as evidence of a prolific director running out of steam. In fact, Our Sunhi demonstrates a refinement and distillation of the director’s technique as he approaches an Ozu-like mastery of his craft.

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Review: BETWEEN THE KNEES Lies Korea's Sexual Awakening

By Pierce Conran

While eastern and western sensibilities co-exist somewhat happily in Korea these days, this wasn't always the case. Faced with independence after a long spell of colonial rule in 1945, albeit divided from the Soviet-controlled North, South Korea, through the presence of the US military, was presented with the trappings of the West for the very first time. Ever since then, there has been an uneasy relationship between respect for established local tradition and cravings for imported comforts.

Many films have examined this dichotomy, including Early Rain (1966). However few have done so as aggressively as Lee Jang-ho's Between the Knees (1984), a fascinating and frustratingly paradoxical work from the Korean New Wave. Both progressive and surprisingly conservative, it's a little hard to peg exactly what director Lee's angle is at different points of his film.

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Berlinale 2014 Review: SPROUT's Short and Sweet Seoul Odyssey

Part of MKC's coverage of the 64th Berlin International Film Festival and the 18th Busan International Film Festival.

By Pierce Conran

A little girl’s trip to the market becomes a charming journey through modern Korea in Yoon Ga-eun’s delightful short film Sprout, which premiered at the Busan International Film Festival last October. Korean indie cinema often makes a point of demonstrating what’s wrong with society while many of the values most prized by citizens are typically found in the nation’s commercial output, albeit through rose-tinted windows. Thus it has been treat to see some younger, low-budget filmmakers explore the positives of their country in recent years. Films like Koala (2012) have not forgotten the realities of the society they inhabit, but they have also placed the good right alongside the bad.

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Berlinale 2014 Review: Grand and Hypnotic, A DREAM OF IRON Won't Soon Be Forgotten

Part of MKC's coverage of the 64th Berlin International Film Festival.

By Pierce Conran

Early on in A Dream of Iron, a new documentary premiering at the Berlin International Film Festival this year, director Kelvin Kyung Kun Park shows us images of whales moving through the vast blue expanse of the ocean - enormous creatures that were once considered grand and mysterious. Soon after, Park brings us to the expansive POSCO steel-making plant on the coast of Southern Korea and proceeds to show us the process of shipbuilding through a series of arresting visual tableaux. Gargantuan in size, these vessels demonstrate the soaring ambition of the human race, as enormous components are each readied for assembly with minuscule laborers dotting their surface.

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Berlinale 2014 Review: Bong Joon-ho's SNOWPIERCER Delivers the Goods

Part of MKC's coverage of the 64th Berlin International Film Festival.

By Pierce Conran

Cinema is a medium of motion and if anyone understands this, it appears to be Bong Joon-ho, whose visionary new work is a demented and stunning thrillride. In his first production outside his native South Korea, Bong has delivered his most ambitious project yet, and proves more than capable of handling an international, multilingual cast and a large budget.

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Berlinale 2014: Overview - Strong Korean Lineup in Berlin

Part of MKC's coverage of the 64th Berlin International Film Festival and the 18th Busan International Film Festival.

By Pierce Conran

Long recognized as one of the bastions of independent and foreign cinema, the Berlin International Film Festival, also known as the Berlinale, will kick off its 64th edition later today. Korean cinema has become an increasingly prominent fixture at the event and in recent years has featured in Berlinale lineups with anywhere up to a dozen titles. This year there will be seven Korean films on show, one short and six features, which is a little below average. Yet, in this writer's opinion, it is also one of Korea's strongest lineups to feature at the fest.

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Review: Jang Joon-hwan Returns With Dark Thriller HWAYI: A MONSTER BOY

By Pierce Conran

Korean cinema has become known for its thrillers, and though the genre is one that is popular around the world, there is one particular take on the genre that Korea has excelled at: let's call it the emotional thriller. By blending thriller and action elements with melodrama, a cultural mainstay, the emotional thriller is something we come across time and again in Korean films. Characters in these films are often scarred by their pasts, which are invariably colored by events from Korea's dark contemporary history. Coinciding with narrative elements, these backstories invariably play a central role and prime the gears for enormous emotional releases in the final act.

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