New World (신세계, Park Hoon-jung, 2013)

new world posterUndercover cop dramas have a long history of dealing more delicately with the nature of identity than in just a simple good guy/bad guy dichotomy, but New World’s (신세계, Sinsegye) moody noir setting ensures that the lines are always blurred and there may not in fact be any sides to choose from. Directed by Park Hoon-jung, scriptwriter of I Saw the Devil and The Unjust, New World makes plain that there may not be so much difference between a police officer and a gangster when each acts covertly, breaking their own rules and throwing any idea of honour out of the window in favour of self preservation or aggrandisement. In this worldview the victory of selfishness is assured, the law protects no one – not even its own, and the gangster, well, he only protects himself.

When the “CEO” (Lee Kyoung-young) of the Goldmoon “corporation” is killed in a “freak” car accident, his sudden absence creates a power vacuum in which his prime underlings, supported by their respective factions, vie for the top spot. Unbeknownst to them, police chief Kang (Choi Min-sik) has taken an interest in this suddenly instability in the largest crime syndicate in Korea and intends to launch Operation New World to interfere with the succession and ultimately install his longterm undercover agent in the director’s seat.

Lee Ja-sung (Lee Jung-jae) has been undercover for ten years, during which time he’s become the right hand man to one of the contenders to take over in the flashy Jung Chung (Hwang Jung-min). The opposing number, Lee Joong-gu (Park Sung-woong), is unscrupulous and suspicious – he has it in for Ja-sung and sees the succession as his natural right. Ja-sung, for his part, had assumed the death of the Goldmoon CEO would signal the end of his mission, allowing him to go back to his regular cop life. Soon to be a father, he’s tired of his duplicitous lifestyle and burned out on secret keeping but perhaps so long spent among the gangsters means his more natural home is exactly where he is.

This is certainly a duplicitous world. Grizzled police chief Kang may be on a mission to take down an all powerful crime group, but his methods are anything but orthodox. As usual in deep cover stories, only Kang and one other officer know of Ja-sung’s police background (at least, that’s what he wants Ja-sung to think), but Ja-sung may not be the only undercover operative Kang has on his books. Ja-sung is also sick of Kang’s obsessive surveillance which records the entirety of life in painstaking detail listing everywhere he goes and everything he eats, apparently even down to the sex of his unborn child. No one can be trusted, not even those closest to him, as Kang’s all powerful spy network has eyes and ears in every conceivable place.

Ja-sung’s identity crisis is never the focus of the narrative and a brief coda set three years previously may suggest that he’s already made his choice when comes to picking a side, but then the lines are increasingly blurred between good and bad even when the gangsters are seen committing heinous acts of torture and violence, making their enemies drink cement before dumping them in the nearby harbour. Ja-sung’s friendship with Jung Chung may be the most genuine he’s ever had in contrast to his relationship with Kang in which he remains a tool to be used at will and possibly disposed of at a later date.

Park holds the violence off as long as possible, preferring to focus on the internal psycho-drama rather than the bloody cruelty of the gangster world, but eventually violence is all there is and Park lets go with one expertly choreographed car park corridor fight followed by frenetic lift-set finale. The “New World” that the film posits is a dark and frightening one in which it’s dog eat dog and every man for himself with no room for morality or compassion. When the law fails to uphold its own values, others will prevail, for good or ill.


Screened at London Korean Film Festival 2017. Also screening in Sheffield (13th November), Glasgow (18th November) and Belfast (18th November). New World will also be released on DVD/blu-ray from Eureka Entertainment on their new Montage Pictures sub-label.

International trailer (English subtitles)

The Concubine (후궁: 제왕의 첩, Kim Dae-seung, 2012)

the-concubineYou can become the King of all Korea and your mum still won’t be happy. So it is for poor Prince Sungwon (Kim Dong-wook) who becomes accidental Iago in this Joseon tale of betrayal, cruelty, and love turning to hate in the toxic environment of the imperial court – Kim Dae-seung’s The Concubine (후궁: 제왕의 첩, Hugoong: Jewangui Chub). Power and impotence corrupt equally as the battlefield shifts to the bedroom and sex becomes weapon and currency in a complex political struggle.

Prince Sungwon first catches sight of official’s daughter Hwa-yeon (Cho Yeo-jeong) after a hunting party and develops a dangerous attraction to her. His possessive parent, the Queen Mother (Park Ji-young), finds this worrying and manoeuvres to take Hwa-yeon out of the picture by having her brought to court as a concubine of the king. Hwa-yeon, however, has a love of her own in the roguish hanger-on Kwon-yoo (Kim Min-jun) and is willing to risk her life by defying the imperial orders and running away with him. The pair consummate their union but are discovered at first light whereupon Hwa-yeon agrees to go to court on the condition Kwon-yoo’s life is spared.

Some years later, Hwa-yeon is the reigning queen as the mother of the sickly king’s only son but her life becomes considerably more complicated when the king dies in mysterious circumstances. Power passes back to the Queen Mother who puts her son, Sungwon, on the throne, making Hwa-yeon and the young prince direct threats to her power base. Sungwon is still in love with Hwa-yeon but his mother forbids him from pursuing her. Forbidding is something his mother does quite a lot of, and it’s not long before Sungwon becomes frustrated with his lack of real power. Matters come to a head when Kwon-yoo also resurfaces as a eunuch at the imperial court.

The imperial court is a golden prison and a world in itself. Once entered, it cannot be escaped. Everyone is vying for power but no one really has any. The king’s ill health and lack of a direct heir has left him dangerously vulnerable and the Queen Mother in a position of unusual strength. If one thing is clear, it’s that she has had to play a long game to get here, done terrible things in the name of power or self preservation, and will stop at nothing to make sure she remains on top.

The Queen Mother’s ascendency is contrasted with Hwa-yeon’s fall as she finds herself forced into the court against her will. Realising her total lack of agency as the court ladies are instructed to obey protocol in undressing her for the bath rather than allowing her to undress herself, Hwa-yeon exclaims that she has no right to her own body. Hwa-yeon’s body is, now, imperial property to be used and abused by the king for his pleasure and his alone. However, the Queen Mother may have met her match in the steely and intelligent politician’s daughter who seems just as well equipped to play the game as she is.

Much has been made of the sexual content of The Concubine which was largely sold on its titillating qualities. However, even if the adult content is frank it is far from erotic as sex becomes a tool of control and manipulation – one of the few available to the subjugated women of the court environment. Aside from the first love scene between Hwa-yeon and her true love, Kwon-yoo (which is perhaps the least direct), none of the subsequent scenes is fully consensual, each a part of a wider scheme or courtly ritual. Rather than an expression of love or intimacy, sex is an act of mutual conquest in which each side, essentially, loses.

Sungwon finds himself powerless both politically and romantically, unable to wrest power away from his controlling mother or win the heart of the already brutalised Hwa-yeon. A prisoner of his own circumstances, Sungwon’s increasing feelings of impotence manifest in violence and erratic behaviour as his obsession with Hwa-yeon borders on madness. Far from a liberation, Sungwon’s sex life is, in a sense literally, dictated as his ritualised consummation of marriage is conducted in front of an audience shouting out commands from behind screen doors who eventually criticise him for his lack of stamina. Kwon-yoo has been robbed of his ability to engage in this game and his desire for revenge is intense yet he will have to take it from the shadows by stealth if at all.

Director Kim Dae-seung manages the intrigue well in crafting the intensely claustrophobic environment of the oppressive court whilst ensuring motivations and desires remain crystal clear. There are no winners here even if there is a reigning champion claiming the throne. The cycle of violence and manipulation seems set to continue as even those who entered as innocents leave with blood on their hands, having become the very thing they fought so hard against. Often beautifully shot with opulent production values, The Concubine is an ice cold thriller in which desire competes with reason but rarely, if ever, with love.


Original trailer (no subtitles)