Another Child (미성년, Kim Yoon-seok, 2019)

Another Child Poster 1Learning to be generous in the face of disappointment is perhaps a defining characteristic of adulthood. It’s a lesson the teenage heroines of Another Child (미성년m Miseongnyeon) must learn the hard way as they find an unexpected bond in realising that their parents aren’t bad people, just flawed and human. The debut directorial feature from actor Kim Yoon-seok who also stars in a minor role as the feckless patriarch, Another Child finds four women across two generations caught in very trying circumstances but acting with generosity and compassion as they endeavour not to make any of this harder than it needs to be.

The drama begins when 15-year-old Joo-ri (Kim Hye-jun) spots a compromising photo of her father and another woman on his phone. Following him around, she realises that he’s been having an affair with a woman who runs a duck restaurant a little way out of town and is actually the mother of one of her schoolmates, Yoon-ha (Park Se-jin), though they barely know each other seeing as they’ve never shared any classes. In any case, they do not really get on and eventually get into a fight over Joo-ri’s phone which she dropped at the restaurant while snooping, prompting Yoon-ha to blurt out the truth to Joo-ri’s already depressed and suspicious mother.

Despite Joo-ri’s outrage, her father Dae-won (Kim Yoon-seok) and mother Young-joo (Yum Jung-ah) have been sleeping in separate bedrooms for the last two years and appear to be married in name only. Nevertheless, Joo-ri hoped she could sort all of this out before her mother knew anything about it but the situation has been further complicated by the fact that Yoon-ha’s mother Mi-hee (Kim So-jin) is apparently several months pregnant – news which comes as a shock to Joo-ri who begins to accept that perhaps she can’t simply put an end to her father’s philandering and that nothing will ever be the same ever again.

This becomes doubly true once the baby is born in an early labour brought on by Young-joo’s impromptu visit to the restaurant. Guilt-stricken, Young-joo tries to do what she can for Mi-hee as another woman in a difficult situation while trying to encourage her rather snooty daughter to make friends with her almost step-sister. Despite themselves and the many differences between them, Joo-ri and the headstrong Yoon-ha do eventually start to bond but find their newfound friendship tested by their shared affection for their new little brother with Yoon-ha immediately adopting him and vowing to raise the baby herself in place of her irresponsible mother, even stopping to ensure his birth certificate is properly registered, while Joo-ri coldly suggests he be put up for adoption in the hope he gets a better education. Yoon-ha, practically minded in many other respects, would never abandon a family member, while Joo-ri makes what she thinks is the “sensible” if austere choice which prioritises Yoon-ha’s right to conventional success over familial duty.

Meanwhile, the four women are left to sort everything out amongst themselves. Dae-won is perhaps not a bad man, but weak and feckless. Unwilling to face what it is that he’s done, he runs away – avoiding seeing the baby while refusing to engage with the pain he’s caused his wife and daughter through his infidelity, still in denial that he’s destroyed his family home but never really intending to make a new one with Mi-hee who really was, it seems, just a mid-life crisis fling. Across town, Yoon-ha tries asking her own feckless father for money to pay some of her mother’s hospital fees as well as other expenses but finds him an irresponsible gambler who’d forgotten how old she was even if he eventually managed to recall her name.

Thanks to some gentle prodding from each other’s mothers, with whom both Yoon-ha and Joo-ri begin to find common ground, the girls eventually grow more accepting of their situation, looking for understanding rather than trying to apportion blame. No one here is really “bad”, just flawed and unhappy, caught up in an emotionally difficult situation that is either everyone’s fault or no one’s. None of them have anything to gain by making this harder than it needs to be and thankfully decide to take the moral high ground, not exactly forgiving but compassionate. “It’s not easy to live in this world”, Yoon-ha tells her new brother not quite knowing how right she is. A beautifully pitched exploration of magnanimous female solidarity and unexpected friendship, Another child is a finely drawn feature debut from the veteran actor which holds only sympathy for its flawed heroines trying to find grace in trying times.


Another Child screens on 11th July as part of the 2019 New York Asian Film Festival. It will also be screening as part of the 2019 Fantasia Film Festival on 14th/20th July.

International trailer (English subtitles)

3-Iron (빈집, Kim Ki-duk, 2004)

3-ironYou wouldn’t think it wise but apparently some people are so trusting that they don’t think twice about recording a new answerphone message to let potential callers know that they’ll be away for a while. On the face of things, they’re lucky that the guy who’ll be making use of this valuable information is a young drifter without a place of his own who’s willing to pay his keep by doing some household chores or fixing that random thing that’s been broken for ages but you never get round to seeing to. So what if he likes to take a selfie with your family photos before he goes, he left the place nicer than he found it and you probably won’t even know he was there.

Player 2 joins the young man (credited as Tae-suk but unnamed in the film) when he stays at an upscale mansion which turns out to be “haunted” by the still living but damaged figure of a battered wife. Tae-suk hurriedly leaves once discovered, but later thinks over his encounter with the sad seeming lady and decides to return. After an altercation with her violent husband, Sun-hwa leaves with Tae-suk and the pair sneak into various other “empty” homes together. After one particular dwelling reveals a nasty surprise the two bring themselves to the attention of the police who threaten to end their young love story before it’s hardly begun.

Like much of Kim’s work, 3-Iron (빈집, Bin-jip) is near silent and neither of the two protagonists speak one word to each other until final scene of the film. Tae-suk, in particular, seems to have an obsession with being invisible – hiding in blindspots and always making sure to tidy up after himself so well that no trace of his presence remains. Sliding into these mini universes, he seems oddly interested in their inhabitants as he gazes at their photographs and admires the decor. Despite his need to disappear, he builds connections with absent people even going so far as to take a photo with a photo of them, artificially generating some sort of kinship where there is none.

If Tae-suk is haunting the bourgeoisie, Sun-hwa is both spectre and spectee as she moves silently around her golden cage of a spacious villa like a frightened mouse locked inside the elephant house. Evidently further along the stealth game than Tae-suk has been able to progress, her discovery of him leads to a feeling of defeat. Yet, after reconsideration, he recognises a fellow lost soul and so returns to rescue her from her oppressive ogre of a husband by using his weapon of choice against him. The 3-Iron golf club is not only a symbol of the husband’s middle class pretensions, but its relative lack of wear also points to the lack of respect he reserves for his toys – even extending so far as his wife whom he also seems to regard as an “inautonomous” appendage to his image much like the golf club itself.

Kim ends the film with a caption to the effect that it’s hard to tell if the world we live in is reality or a dream. With the continued silence of the film’s protagonist, bizarre scenario of “borrowed” lives, and general surrealism, Kim creates an etherial atmosphere filled with heightened, everyday strangeness. This could be a ghost story – literally, or figuratively, as our haunted protagonists continue their visitations on the living, or a love story, or even an absurd comedy. Tae-suk and Sun-wha exchange roles, alternately comforting or rescuing one another before, perhaps, becoming one at the film’s conclusion. A strange, romantic fairytale, 3-Iron is Kim in an uncharacteristically cheerful mood though he’s careful to remind us that the world outside of this charming bubble is filled with violence, cruelty, and chaos.


3-Iron is available in the UK from Studiocanal and from Sony Pictures Classics in the US though the R3 Korean disc also includes English subtitles.

US release trailer: