Romance Joe (로맨스 조, Lee Kwang-kuk, 2011)

romance-joeReview of Lee Kwang-kuk’s Romance Joe (로맨스 조) up at UK Anime Network. First saw this at the LFF a couple of years ago but now it’s back alongside Lee’s latest film A Matter of Interpretation at the London Korean Film Festival.


Lee Kwang-kuk’s meta romantic comedy drama first got a London outing at the BFI film festival back in 2012 but now makes a welcome return visit as part of the 2015 Korean film festival in a strand dedicated to its director. Playing alongside a short film, Hard to Say, which was completed by Lee in-between Romance Joe and his new film A Matter of Interpretation, the film brings Lee’s meta concerns to the fore and offers plenty of Alice in Wonderland inspired absurdity to its otherwise straightforward plot elements.

Romance Joe is a film with many levels. On the first layer, we have an elderly couple arriving in Seoul to look for their son who came to the city to be a director 18 years ago but he’s not been in contact recently so they’re worried. His friend greets them and tells them their son had been feeling depressed lately over the suicide of a well known actress. He then starts to tell them about an idea for a screenplay he’s had about a director with writer’s block who checks into a motel where he’s told another set of stories by a prostitute who delivers coffee as a cover. From here the stories radiate out like cracks in a broken mirror though we never quite get the answers we’ve been looking for.

Lee has worked extensively with Korean auteur Hong Sang-soo and his shadow looms large over the film. From the cutesy title cards to the static camera with occasional creeping zooms and often unbearably awkward situations, there is certainly a lot of Hong in Lee’s film. However, where Hong takes the same situation and replays it with a different outcome, Lee gives you a set of intersecting stories which spring forth from each other. Lee’s interests are more surreal and metaphysical than Hong’s which are, ostensibly, more naturalistic in feeling than Lee’s almost hyperreal world.

In contrast to Hong’s social comedies, Lee also digs a little darker into the Korean psyche and reveals a strange preoccupation with suicide and abandoned children. The furthest point back in the film deals with the lonely mid forest suicide attempt of a teenage schoolgirl who’s become a figure of fun thanks to a loud mouth “boyfriend”. Her rescuer may (or may not be) the man we later come to know as Romance Joe. Though the two eventually bond, the story is not an altogether happy one as they’re rushed into fairly adult decisions which neither of them is really ready for.

Later, a young boy who may (or may not) be the child of the high school girl arrives at the “cafe” from which the prostitute operates looking for his mother who apparently last wrote to him from that address sometime ago and has since disappeared. Later, the prostitute receives a call from her own son safely in the country being cared for by grandparents while his mother earns the money in the city.

In many ways it’s a series of sad yet inevitable stories leaping out from inside each other each more heart rending than the last, though somehow it never becomes as affecting as you’d like it to be. Romance Joe feels like a deliberate experiment in form or at least a dedication to pushing conventional narrative structures into new and exciting places but it does so in a way that’s self consciously about form rather than content so that it never quite takes hold. It wants to discuss time and memories and stories but ends up mostly talking about itself and, in truth, a little lengthily, still Romance Joe does at least manage to offer an intriguing, beautifully filmed and often enjoyable surrealist tale that will have your mind in knots long after you see it.


Reviewed at the London Korean Film Festival 2015.

 

Pluto (명왕성, Shin Su-won, 2013)

GSEOiWzAs we’ve seen lately, there are certainly no shortage of films looking at the complicated and often harsh world of high school in Korea. Pluto (명왕성, Myungwangsung) takes a sideways look at the darker side of academic excellence when the praise and prestige of being one of the top students becomes almost like a drug and makes otherwise bright young people do things even a heroin addict in serious need of a fix might at least feel bad about afterwards with an all encompassing sense of entitlement that gives them a lifetime free pass for even the worst transgression.

June (David Lee) is a bright young boy from a regular high school who’s just transferred into an elite boarding school educating the country’s next great hopes. He may have been a top student at his old school, but here he’s merely average as the school hotshots are pretty quick to point out. Here, the top ten students are treated like princelings – a special computerised teaching room, no curfew, better rooms, better resources and they can more or less do what they like so long as they keep their grades up. Occasionally someone manages to bump one of the top ten from the list but they quickly get kicked out again. The top ten operate like some kind of swatters mafia – they all stick rigidly together, swapping hot tips for the upcoming exams that they refuse to share with the others and engaging in a series of increasingly cruel “pranks” they term rabbit hunts.

The film opens with the police finding the body of the previously number one student Yu-jin (Sung Joon) in a wood with June’s phone lying next him having been used to film the entire grisly affair. June is arrested for the murder but is released after his alibi checks out. Sick of all the struggle and unfairness, June puts his particular talents to use to try and teach the world a lesson about the sort of people this system is producing.

The picture Pluto paints of the Korean schools system is a frankly frightening one in which academic success is virtually bought and paid for or guaranteed by class credentials. Yes, the top students obviously must have ability – some of their activities may come close to cheating but interestingly nobody seems to want to try actual deception to get ahead. However, that natural ability has clearly been bolstered by their parents’ wealth. Attending an elite school and spending more than some people earn on private tutors geared towards knowing how to get into the best universities undoubtedly gives them advantages which are out of reach for others no matter how smart they may be. Perhaps that’s fair enough in a capitalist society, they didn’t ask to be born to rich parents and who would turn that sort of help down if offered it? However, though they may possess the virtues of discipline, hard work and a desire to succeed what they lack is any sort of empathy or even common human decency. Engaging in a series of manipulative hazing exercises, the elite group will stop at nothing to protect their status specialising in thuggery, blackmail, rape and even murder. The sort of people this system is advancing are not the sort of people you want running your schools and hospitals, they are morally bankrupt and only care about their own standing in the eyes of others.

Perhaps it’s fitting that this elite boarding school is housed inside a former compound of the Korean secret police, including a subterranean layer of prison-like tunnels once used as a torture chamber. Aside from the obvious school as torture analogies, much of them film seems to be about what people choose to ‘unsee’. The headmaster of the high school is aware of the ‘untoward’ behaviour of some of his pupils but refuses to do anything in case it upsets their well connected parents, damages the reputation of his school or has an adverse effect on those all important test results. The ‘Pluto’ of the title is referenced in June’s university application essay on the demotion of Pluto from the accepted list of planets. He argues that this is unfair and a fallacy as it’s illogical to measure anything by its proximity to the sun which is, after all, just another star which will eventually die like all the others. Just because it’s a little different looking, you shouldn’t necessarily categorise it as being in some way ‘inferior’ based on a set of fairly flimsy criteria. June, like Pluto, hovers in uncertain orbit on the periphery – always wanting in but perpetually locked out. Naturally gifted but from an ‘ordinary’ background where his single mother sells insurance for OK money, June can’t hope to compete with these elite kids even if his capabilities may be greater. A lot of decisions have already been made as to what people choose to see, have chosen to regard as an ideal, even if the reality is painfully obvious.

Though oddly funny in places for such a hard hitting film, Pluto is a difficult watch at times and paints a depressing picture of the high pressured nature of the Korean educational system and of human nature in general. The elite group are universally awful people who run the gamut from arrogant, entitled prigs to snivelling cowards which makes it difficult to feel any sort of sympathy and you start to long for bad things to happen to them which somewhat undermines the film’s premise. Perhaps the problem is just that they were awful people who were enabled by a system rather than people who started out good and were corrupted by it. Stylishly shot and supported by well grounded performances from its young cast, Pluto is a welcome addition to this perhaps overcrowded genre which brings more than a few new thought provoking ideas to the table.


 

Review of first Pluto published by UK Anime Network.

Poetry

 

Last year’s winner of the Cannes award for screenwriting, Lee Chang-dong’s Poetry is the story of one women’s yearning to see the beauty of life and finding that often it’s only to be found in its blackest tragedies. Mija (Yun Jung-Hee), a sixty-five year old woman, is caring for her grandson in a tiny apartment of the edges of a city when simple aches and pains lead to the discovery of a serious health problem. Having seen a poster for a local adult education class in poetry writing, and recalling a teacher once predicted she’d one day become a poet she decides to enroll. In the midst of this she also discovers that her grandson has done something unthinkable, and that the reactions of others to these events ranges from the nonchalant to the wildly self interested. Bewildered by the conspiracy of these conflicting crises, Mija must reach an understanding of what must happen now and learn to see the beauty of life in all its ugliness so that she can finally write her own poem.

Although it has a gentle melancholy, Poetry is not quite as depressing as it sounds and is in the end deeply beautiful. Yun Jung-Hee’s performance is breathtaking, never straying too far into melodrama she keeps a film that might have become overwrought firmly rooted whilst allowing the audience to totally empathise with her character. It’s no wonder that this won the screen writing prize at Cannes last year as it’s incredibly well written and hugely literate.

Poetry is a beautiful film that everyone would benefit from seeing. It’s a real shame that this is the first of Lee Chang-Dong’s films to be released in the UK, hopefully it won’t be the last!