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Fears of changeling children and their propensity to become cuckoos in the nest is a mainstay of folklore horror, but in recent times the creepy kid has crept his way in from the cold as the current monster of choice. The Mimic (장산범, Jangsanbum), though apparently completed some time earlier, has a few superficial similarities to Na’s The Wailing in its use of powerful, ancient myths and shamanic lore to conjure its particular brand of evil. If Na’s film was sometimes criticised for its obtuse ambiguity Huh has the opposite problem in failing to properly support his internal mythology with an appropriate level of consistency.
Hee-yeon (Yum Jung-ah) packs up her life including husband (Park Hyuk-kwon), mother-in-law (Heo Jin) suffering with dementia, little girl Jun-hee (Jang Liu) and a box of painful memories and moves to Mount Jang – her mother-in-law’s hometown. The move is intended to help the family put the past behind them and move on after Hee-yeon’s son disappeared without trace five years previously, but it’s not long before Hee-yeon is catching sight of small boys in ragged clothes on the streets around Mount Jang and convincing herself she’s seen her little boy despite the distance from the place where he disappeared and that he’d now be five years older than the version she has stored in her memory.
With Hee-yeon’s mental state already strained, she runs into trouble when a pair of earnest children arrive hoping one of the dogs in the kennel facility the family are running might be their missing puppy. It isn’t but their search leads them to a creepy walled up cave where they’re attacked by a malevolent entity. While her husband is helping the children and investigating the cave, Hee-yeon comes across a strange little girl (Shin Rin-ah), apparently lost, and dressed in an old fashioned velvet dress with a lace collar. The girl disappears while the Hee-yeon and her husband are busy with the police but later turns up at the couple’s home and worms her way inside, eventually claiming that her name is Jun-hee too, just like Hee-yeon’s daughter.
The central conceit is that the malevolent entity existing around Mount Jang mimics the voices of (usually dead) loved ones in order to convince its victims to surrender themselves voluntarily. Huh sets up Hee-yeon’s mental instability early on as she nervously guzzles pills to help her regain her grip on reality, but there after abandons it, never questioning the real existence of threat or Hee-yong’s relationship to the little girl whom she at times strangely believes to be her son. The little girl remains a typically creepy kid, originally mute and then mimicking Jun-hee but apparently unthreatening in and of herself. The cuts and bruises across the little girl’s back might explain her silence with her immediate adoption of a Jun-hee persona a kind of rejection of her original personality, but the film has already lost interest in rational explanations.
Hee-yeon, despite a degree of distance towards her daughter, immediately takes to the little girl, bringing her into the house with an intention to keep her despite her husband’s reservations. The desire to save this lost little girl is, of course, a kind of reaction to the loss of her son whom she seems to see in the little girl even without her supernatural gift of mimicry. Hee-yeon blames herself for the unknown fate of her little boy who disappeared after she left him with her mother-in-law (already suffering with dementia) in a busy foodcourt. Granny may have more clues, but if she has they’re irretrievably locked inside her fracturing mind. Having grown up in the surrounding area and being aware of the legends since childhood, granny is also a good person to ask about the strange goings on – only no one does because they assume she is not mentally stable. Hence when she alone knows to cover up mirrors and is suspicious of the little girl, everyone thinks it’s the dementia talking.
Symbolically the choice which is presented is between past and future, life and death, in the knowledge that the two are mutually exclusive. The liminal space of the cave becomes its own purgatorial courtroom in which Hee-yeon, and the other victims, must decide for themselves who or what they believe and which sort of existence they wish to embrace. For Hee-yeon her trial involves the abandonment of another child as a final goodbye to her long absent son, pulling at her fragile maternity and testing each and every aspect of it (though not, perhaps, that related to her remaining daughter who seems to have been temporarily forgotten). Huh makes fantastic use of soundscapes and intriguing use of mirrors, but even the high quality photography and committed performances can’t quite overcome the hollowness of his mythology, robbing his dark fairytale of its essential power.
Screened at London Korean Film Festival 2017. Also screening at Showroom Cinema, Sheffield, 15 November 2017, 8.30 pm
International trailer (English subtitles)
Windows on Worlds 