When the Burning Sun scandal exploded in early 2019 it promised but perhaps did not deliver a reckoning with the generalised misogyny at the heart of a fiercely patriarchal society. Almost a year previously, 12,000 women had assembled at Hyehwa Station to protest the prevalence of “molka” or spy cam pornography in which footage captured of ordinary women through the use of hidden cameras in ladies’ bathrooms, changing areas, and fitting rooms had been uploaded to the internet without their knowledge or consent. Despite all of this, there has been relatively little progress. Miss & Mrs. Cops (걸캅스, Girl Cops), a lighthearted comedy dealing with the weighty issues of molka, date rape, and the indifference with which they are treated by an overwhelmingly male police force obsessed with targets and performance, was filmed before the Burning Sun story broke but drops neatly into the post-scandal society as two women discover that they’re on their own when it comes to taking down a vicious drug gang.
Mi-young (Ra Mi-ran) was once an ace detective well known for her ice cool arrests, but after marrying a feckless man who repeatedly failed to pass the bar exam she was forced to leave active policing and take an admin job in the complaints department for higher pay. Her sister-in-law, Ji-hye (Lee Sung-kyung), has since joined the force as a rookie officer but has little support amongst her colleagues and is often in trouble for her worryingly aggressive policing which eventually gets her “demoted” to complaints where she ends up working with Mi-young. While they’re busy bickering, a young woman arrives looking lost and confused but is frightened off by a rowdy group of men before she can say anything. As she’s left her phone behind, Mi-young chases after her, but the woman immediately steps out into traffic and is hit by a car. Obviously extremely concerned, Mi-young and Ji-hye get their tech expert colleague to Jang-mi (Choi Soo-young) to help them crack the phone and discover a compromising photo of the young woman posted on an illicit web channel promising to release the full video when it reaches 30,000 likes.
Talking to her friend, Mi-young and Ji-hye realise that the young woman has tried to take her own life out of shame because of what these men did to her. Yet their attempts to report the matter to the legitimate authorities fall on deaf ears. Ji-hye’s colleagues joke and complain about having to investigate “perverts” instead of doing “real” policing, as if it’s all just meaningless silliness. Back when Mi-young was on the force she was placed into a special woman’s squad dedicated to dealing with crimes against women. Ji-hye quite rightly points out that times have moved on and the woman’s squads were in their own way essentially sexist in that they were created because the male police force did not regard crimes against women as “serious”, nor did they regard female officers as “real” police, so they killed two birds with one stone to allow them to get on with more “important” matters.
The women realise that they’ll have to deal with this on their own, but even once they do discover that the male officers are only too keen to take the credit for exposing a drug ring while leaving the “peeping toms” to the ladies as not worth their time. Ji-hye’s boss even lets his mask slip in irritatedly suggesting she’s being over emotional because she is a woman and should let the boys get on with their jobs, but it’s only when she has a moment of impassioned rage explaining to them that they’re consistently failing in their duty to protect the women of Korea that they are finally shamed into realising the consequences of their lack of concern.
Meanwhile, each of the women has been in some way been deliberately obstructed in their career solely for being a woman. Mi-young was forced off the force and is now in danger of losing her complaints job because of budget cuts. An older woman doesn’t tick any boxes on the employment quotas and so they have no reason to keep her. Ji-hye, meanwhile, is ignored by most of her team and left without support, and even Jang-mi, we discover, had NIS training but quit in resentment after they put her on a pointless Twitter monitoring programme. Their much maligned boss was also a part of the woman’s squad and wanted to continue in the police after having children, but they put her in charge of complaints instead.
Yet Mi-young says she isn’t on the case because of female solidarity but because it makes her so angry that most of the women this happens to, like the woman who stepped in front of a moving car, blame themselves. The woman’s friend blames herself too for getting her friend into a dangerous situation because she convinced her to come to a private party with guys in a club thinking “they seemed OK”. In that sense it’s a shame that the villain concerned turns out to be a drug-addled sociopath who apparently only does the date rape stuff “for fun” because the real reason for all those clicks is data collection, rather than a perfectly ordinary guy who is probably someone’s son, brother, or even husband, not to mention chaebol kid or Kpop star. Still even if a little flippant in presentation (including some extremely unfortunate racist “humour”), Miss & Mrs Cops maybe no Midnight Runners but has its moments as its determined heroines strike back against patriarchal indifference by refusing to give up on justice.
International trailer (English subtitles)
Review of Hur Jin-ho’s The Last Princess first published by 
Because it’s there. As good a reason as any for doing anything but these were the only three words of explanation offered by George Mallory in answer to the question “Why climb Everest?”. In Powell & Pressburger’s The Red Shoes, the heroine reacts in a similarly philosophical fashion when asked “Why do you want to dance?” replying with the question “Why do you want to live?”. What makes some people prepared to dance until their feet bleed and their toes break, and sends others to the peaks of snowcapped mountains staring death in the face as they go, is something which cannot be fully explained in words but cannot be denied by those who hear its calling.
Windows on Worlds 