Project Silence (탈출: 프로젝트 사일런스, Kim Tae-gon, 2023)

“It’s a nation’s duty to protect its citizens wherever they are,” according to a more earnest politician, though Blue House security advisor Jung-won (Lee Sun-kyun) counters him that actually their duty only extends to those who voted for them, and they expect wise political judgment. Jung-won is a classic political lackey in that he’s intensely cynical and his every living thought is about how best to spin any given circumstances so that his boss, Hyun-baek (Kim Tae-woo), will become Korea’s next president.

There’s something quite remarkable about the extent to which Jung-won has erased himself from this equation and dedicated his life to making Hyun-baek’s a success while otherwise leaving conventional human morality at the door and pursuing a doctrine of doing only that which is most politically expedient. Some of his detachment might be explained by the fact he lost his wife some time ago to a lengthy illness and is about to send his daughter, who views him with contempt, to study abroad in Australia thanks to a few strings pulled by Hyun-baek. 

But as he later says, if Hyun-baek were actually there and seeing this for himself, he would make a different decision. Despite his cynicism, Jung-won eventually becomes a voice of authority during a moment of crisis and determines to set about rescuing the survivors rather than communicating with Hyun-baek about how best to turn this situation to their advantage. Paradoxically, he redeems the government in the eyes of those stranded on a bridge after a multi-car pileup in the middle of a particularly thick fog who come to realise that the authorities are not all that invested in rescuing them and may even be partly responsible for putting them in danger.

The Project Silence of the film’s title turns out to be one of creating genetically enhanced attack dogs who can chase a target with a specific voice. Apparently developed originally by the US and EU, the project is being researched in Korea but rendered a failure with the current batch of dogs set for “disposal”. That is, if they hadn’t been set loose by the accident and the possibly malicious actions of their handler who claims he was researching rescue dogs but was forced to reprogramme them to kill on the orders of the military. As he points out, the leader of the dogs, who has a head injury suggesting their programming has been disrupted, is only taking their revenge for their constant mistreatment at the hands of humans.

Then again, one of the ironies of Project Silence is that there is quite a lot going on from the unusually thick fog, the multi-car pileup caused by a live streamer driving recklessly for views, the toxic gas flowing from a crashed lorry, to the fact the bridge itself may collapse after the military helicopter sent to retrieve the dogs crashes and damages the support cables. All things considered, it is too much all at once considering the outlandishness of the evil dog plot. Though there are an assortment of survivors to become invested in as is usual in these kinds of films, we don’t always get to know them well enough with a series of subplots left unresolved such as the creepy behaviour of a Buffalo Bill-esque trucker who nevertheless becomes a kind of comic relief figure and eventual saviour of the group while becoming a reluctant buddy to Jung-won. Similarly, the dementia of an elderly woman (Ye Soo-jung) is intermittently brought up but never for any real reason nor is it ever fully explored, not even in her relationship with her husband who is responsible for her care. The younger of two bickering sister’s golf career does however turn out to have a practical application.

The conflict between Jung-won and his daughter, meanwhile, is largely mediated through her contempt for his callousness and resentment towards him for failing to address her mother’s death. Of course, saving the passengers is also a way to redeem himself in Kyoung-min’s (Kim Su-an) eyes much like the father in the similarly themed Train to Busan, though the awakening that Jung-won undergoes is more like the fog gradually lifting as he realises he is also being played by political manipulators while it is as he said different if you’re actually there and much harder to make the “sensible” decision to let the bridge collapse and take the potentially embarrassing evidence of their rogue science experiment with it. Perhaps that’s the real meaning of “project silence,” making sure there’s no one left to speak. But Jung-won is used to playing this game from the other side so he’s a few steps ahead and knows his best weapon is noise, tell everyone and do it right away so they don’t have time to shut you down nor can they deny it later. He may have been party to lingering authoritarianism, but has now realised that a nation’s primary duty is to protect its citizens after all, even if they voted for the other guy. 


Project Silence is available in the UK on 4K UHD courtesy of Altitude.

Trailer (English subtitles)

Vertigo (버티고, Jeon Gye-soo, 2019)

To many, the word “vertigo” is synonymous with a fear of heights, but in essence it refers more to a sense of unbalance, a giddiness born of having lost sight of the ground, temporarily unable to orient yourself within an environment which no longer seems to make sense. The heroine of Jeon Gye-soo’s artfully composed Vertigo (버티고) fears she is suffering with the medical variety caused by an ongoing problem with her inner ear which leaves her with recurrent tinnitus and a permanent sense of wooziness. She is also, however, suffering with a kind of existential dizziness, trapped in a constant state of anxiety in feeling entirely untethered to the world. 

30-something Seo-young (Chun Woo-hee), is a contract worker at an ad company with an office on the upper floors of a high-rise building. Unbeknownst to her colleagues, she’s been having an affair with her handsome, once divorced boss, Jin-soo (Yoo Teo), but he seems to be holding something back from her, insisting on keeping their relationship secret and reluctant to introduce her to his grown-up son. Meanwhile, she’s subject to most of the minor micro-aggressions plaguing women in the work place which run from being expected to come in early to do menial tasks like refilling the photocopier and tidying the shelves, to casual sexual harassment. Somewhat out of it, Seo-young has managed to avoid most of that and thinks she’s moved past the stage of having to play the office lady game by keeping the men entertained at the not-technically-compulsory-but-you-still-have-to-go afterwork get-togethers. Her friend Yedam (Park Ye-young), however, has her getting worried, at once complaining about their sleazy team leader asking for massages and reminding her that they need to turn on the charm at least until their contracts are renewed. 

Being a “contract worker” and not a salaried employee is certainly a major cause of Seo-young’s anxiety, leaving her feeling unanchored in her professional life in the knowledge that she could soon be unceremoniously cut loose for reasons largely unconnected to her performance. As a woman in her 30s it will be increasingly difficult to find a new job while a still patriarchal society will most likely write her off for daring to reject marriage in favour of work but failing to make a success of it. Her male bosses and colleagues, regular employees all, use her precarious status against her, expecting that she “play nice” to get a recommendation for further employment and threatening to tank her career if she doesn’t toe the line. She muses on going “far away” with Jin-soo, perhaps to Argentina, a land of passion where people dance the tango and drink wine late into the evening, but on some level knows it’s a just a comforting fantasy. 

Regularly visiting an ear doctor, Seo-young tries to overcome her sense of unease through medical means, unwittingly returning to the source of her trauma buried in a painful childhood which regularly resurrects itself in her toxic relationship with her mother who only rings to belittle her success while complaining about her string of relationships with terrible men and unsatisfying life with Seo-young’s step-father. Seo-young can’t find firm ground because she is essentially unanchored, left dangling by a failure of the traditional family and seemingly with no “real” friends. She begins experiencing panic attacks at work, retreating to unoccupied rooms to calm herself by looking out at the horizon. 

Meanwhile, her growing despair has been spotted by window cleaner and bookshop clown Gwan-woo (Jeong Jae-kwang) who is carrying a sadness of his own. He pities and protects her, supporting from the other side of the glass in a way which is not, strictly speaking, OK but is filled with such innocence and unspoken connection that it largely overcomes the otherwise unpalatable quality of his stalkerish devotion. Gwan-woo is, in a sense, a man who’s unafraid to fall, secure in his ties to the world and literally anchored by his position in society. Seo-young yearns to overcome her sense of anxiety, find firm footing and a sense of support, at once reassured by the presence of Gwan-woo and perhaps disturbed by it. She is, however, feeling her way back to solid ground, gaining the desire to climb safe in the knowledge that someone will be there to catch her even when she feels like falling. 


Vertigo streamed as part of this year’s Udine Far East Film Festival. It was also due to screen as part of the 10th Season of Asian Pop-Up Cinema.

International trailer (English subtitles)