Juror 8 (배심원들, Hong Seung-wan, 2019)

Juror 8 poster 1What is the role of the law in a free and democratic society? In an effort to democratise justice, Korea held its first jury trial in 2008 giving “the people” a voice in the courts. As might be expected the judiciary had its doubts. Where judges and lawyers are best placed to assess the evidence and draw their conclusions, might not ordinary citizens be swayed by emotion or argument? Then again, compassion might be a force sorely lacking in a legal process some might feel to have become too efficient in its keenness to see justice is done speedily, losing all important scrutiny and allowing corruption and complacency to sneak their way in.

Juror 8 (배심원들, Baesimwondeul), a courtroom comedy drama, subtly puts the nation on trial as it asks what the point of the law is if it’s wielded like a blunt object. The case in hand concerns a middle-aged man, Kang Du-sik (Seo Hyun-woo), accused of hitting his elderly mother (Lee Yong-yi) on the head with a hammer and then throwing her off the balcony to disguise the crime. Though the defendant made a confession to police shortly after the incident, he did so vaguely from a hospital bed after being knocked out and now claims he can’t remember the events in question. This presents a problem for the judiciary who had chosen this case for the first jury trial precisely because it seemed so open and shut, all the jury was supposed to do was consider sentencing. Now they’re being asked to consider guilt or innocence and asking lots of awkward questions in what was supposed to be a token effort on behalf of law enforcement to demonstrate that it is listening.

Everything might have gone to plan if it hadn’t been for problematic “Juror 8” Nam-woo (Park Hyung-sik ) who, despite giving some worryingly conservative answers in his interview, instantly sympathises with the suspect and worries that there are too many unanswered questions in the evidence presented. His conviction only strengthens when he wanders off trying to get to the patent office to file sample of a self-defence device he was trying to launch as a business and accidentally meets Kang who seems despondent and frightened, worried he really might be guilty but fundamentally unable to remember.

More cynical minds might ask if Kang’s memory lapse is merely convenient and he hopes to exploit the jury trial to win acquittal through sympathy. Having noticed that Kang has no fingers, Nam-woo insists on a test to see if he is able to swing a hammer only for others to point out that there is no real way to know if he is not physically able to do it or chooses not to to aid his case. Meanwhile, Kang sits sullenly like a defeated ball of pent-up rage, eventually exploding when the jury is handed a letter he claims he was forced to write expressing frustration with his mother’s refusal to sign a legal separation form so that he would be eligible to receive welfare payments.

As his lawyer later puts it, the real villain here is poverty. Kang was raised by a single-mother, something still frowned upon, who had to leave him alone to go out to work. She locked the door from the outside to keep him safe, but that also meant he was unable to escape a house fire and was badly burned at only five years old sustaining prominent facial scarring and the loss of the fingers on both hands which means he is unable to work and cannot easily write. According to the testimony, Kang and his mother argued constantly over money, especially since her job washing dishes at a restaurant came to an end. As her son and dependent, he was unable to claim benefits and wanted, the prosecution claims, to legally sever ties. When his mother refused, they allege that he lost his temper, killed her, and tried to make it look like an accident.

Nam-woo is unconvinced as is another juror whose 30 years as an embalmer tell him that the head wound was unlikely to have been caused by a hammer. Juror 6 is dismissed for speaking out in court, his exuberance held up as an example of teething problems in the jury system, but his words strike a chord with some of the other jurors who wonder if the smug expression on the forensic scientist is there to mask the fact that he didn’t really bother to investigate because there had already been a confession and all he needed to do was “confirm” the police’s findings. Time and again, the jurors accidentally uncover the failings of justice in a system geared towards efficiency. Kang was pushed to confess by police keen to meet their targets, the confession then became basis for deprioritising his case. Or as some of the legal minds put it, they got “sloppy” because there was no sense in devoting time and energy to a matter already closed.

The same thing happens in the jury room. The jurors are ordinary people. They have lives waiting for them. Nam-woo wants to file his paperwork for the business loan, another juror has a child to get back to, one is a salaryman with an angry boss on the phone. Everyone has a vested interest in getting this over with as quickly as possible so they can all go home, but they also take their responsibilities seriously – much more seriously than they were intended to. Korea is a conservative society in which it is natural to follow the guidance of the authorities and the collective will, and so it seems natural to everyone that you simply rubber-stamp whatever the judge says. Nam-woo is a bit different, he notices details and he asks awkward questions. “Just go with the flow” the other jurors urge him, “when in doubt follow their lead”, but he wants to do what feels right. The exasperated businessman orders him to fall in with the boss, in this case the judge, but crumbles when another juror asks for his own opinion. He doesn’t have one, because he’s corporate drone and he’s been conditioned to do whatever the boss says without really thinking about it.

In any case, the jury system itself is a bit of a sham. The jury’s opinion is not legally binding, the judge only has to take it under advisement and can overrule. Sympathetic judge Kim (Moon So-ri), defended in her appointment as “strong and resolute like a man”, is fighting her own battles in a male-dominated arena, hoping for a long overdue promotion following the successful handling of this high profile case she only got through lottery. She begins to notice things she might not have when it was just a formality of sentencing a man who had confessed, but she is under pressure to maintain control and authority while demonstrating the magnanimity of the state. The jurors’ deliberations expose their pettiness and snobbery, some taking against Kang just because he lives in the poor part of town, but also their keenness to ensure the law is fair and exists to protect and not to oppress. Genial and humorous, Juror 8 addresses a serious subject with a lightness of touch and a subtlety that gently exposes the shortcomings of its society while placing its faith in “the people” to make a compassionate choice in the face of a fierce pressure to conform.


Juror 8 screens in Chicago on Sept. 12 as part of Asian Pop-Up Cinema season 9 where director Hong Seung-wan will be in attendance for an introduction and Q&A moderated by Korean cinema expert Darcy Paquet.

Original trailer (English subtitles)

Heart Blackened (침묵, Jung Ji-woo, 2017)

Heart Blackened posterMost of us like to kid ourselves that you can become rich and successful by working hard and playing by the rules, but it takes a certain kind of ruthlessness to climb the chaebol tree. Corrupt CEO Yim Tae-san (Choi Min-sik) is about to have his mettle tested in Jung Ji-woo’s Silent Witness remake Heart Blackened (침묵, Chimmuk). Wealth, money, power, networks of control and manipulation – Tae-san has all these, but a crucial failure to keep his house in order is about to bring it all crashing down. Unless, of course, he can find an acceptable way out. There are some difficult choices to be made but nothing is quite as it first seems in this world of interpersonal gamesmanship and high stakes machinations.

A widower, Tae-san is in a seemingly happy relationship with famous singer Yuna (Lee Honey). His dreams of familial bliss, however, hit rocky ground when his grown-up but still young daughter refuses to accept his new love. Despite Yuna’s attempts to win her over, Mira (Lee Soo-kyung) hates her potential step-mother with unusual intensity. Matters come to a head when some of Mira’s friends alert her to a sex tape going viral on the internet recorded some years previously and featuring Yuna with an old boyfriend. Mira demands a conference and Yuna dutifully comes, hoping for a rapprochement but getting a tirade of abuse. The next morning, Yuna is discovered close to death in the car park underneath her apartment building where a fire has been set presumably to destroy crucial evidence. Mira is arrested but can’t remember anything about the night in question. Tae-san hires an old friend of Mira’s, Choi Hee-jeong (Park Shin-hye), who has now become a defence attorney, in an attempt to get her some moral support from a compassionate lawyer.

Tae-san’s motivations remain opaque and inscrutable. He appears to think his daughter did it, so why does he hire a friendly but second rate, relatively inexperienced lawyer to defend her when he could use his vast wealth to hire the best of the best or even have the case thrown out altogether? As might be expected for someone in his position, Tae-san is a corrupt businessman with a shady past. He has a history with the prosecutor working on this case who has an interest in trying to get at him through his daughter but Tae-san tries buying him off anyway. To Tae-san money is everything. There is nothing which cannot be bought, nothing which cannot be done by a man with “means”, and no trap which cannot be sprung by a man in total control. So why is he letting his daughter go through all this when he could have found a way to pull her out of it?

As it turns out, there are things money can’t buy (but in a round about way, you might be able to make a cash sacrifice in order to prove how much you want them). As part of their investigations, Tae-san and Hee-jong rub up against creepy super fan Dong-myeong (Ryoo Joon-Yeol), otherwise known as “Cableguy”, who’s been stalking Yuna for years and has secret cameras installed all over her apartment building meaning he may have crucial footage of the incident. To Dong-myeong, however, money is “worthless” in comparison to love, family, and friendship (or so he says). Taking the stand, Tae-san amps up his fascistic chaebol survival of the fittest rhetoric in reiterating that “not all lives are equal” and that saying there’s nothing to be done is only the defeatist excuse of the perpetual failure. If he believes the things he says, then Tae-san is indeed a “vile man” as the prosecutor brands him, but then again Tae-san’s relationship to the “truth” is not altogether a faithful one.

Tae-san believes that “money fixes everything” and whatever else he may have done, it’s hard to argue with his final assessment. What Tae-san is experiencing may well be karma for his life of corporate machinations, but it’s not quite of the kind you might expect. Mira, the archetypal chaebol child – spoiled, entitled, selfish, and arrogant, has in a sense been ruined by her father’s failure to teach her there are things more important than money and it’s a lesson both of them will find hard to learn. A chaebol chastened, Tae-san is a man brought low by his own ideology but it’s hard not to feel sorry him as he finds himself back on the path to righteousness having lost everything even if the real villain is the world which blackened his heart to such an intense degree.


Heart Blackened was screened as part of the 2018 London Korean Film Festival.

International trailer (English subtitles)

Believer (독전, Lee Hae-young, 2018)

Believer posterJohnnie To’s darkly comical tale of a weaselly meth cook with an extremely strong survival instinct and the austere policeman who can’t resist taking his bait might seem perfectly primed for a Korean remake in its innate pessimism and awkward bromance. Lee Hae-young’s Believer (독전, Dokjeon), however, merely borrows the bones of To’s Drug War while doubling down on its central conceit as reckless obsession leads to the undoing of both our heroes, each forced to confront the futility of their respective, mutually dependent quests.

Obsessed with tracking down a mysterious drug lord known only as “Mr. Lee”, narcotics cop Won-ho (Cho Jin-woong) asks a favour from an old informant only to see her murdered, leaving him only a vague clue by tracing an infinity symbol on a crumpled receipt moments before passing away. Warned off the Mr. Lee case, Won-ho finally gets a lead when an explosion at a drug lab brings scorned righthand woman Oh (Kim Sung-ryung) into his office promising to spill the beans in return for protection and immunity. Sadly, Won-ho couldn’t protect her either, but there was another unexpected survivor in the form of low level middleman Rak (Ryu Jun-yeol).

Traumatised by the death of his mother in the same explosion, Rak initially says nothing under interrogation but suddenly wakes up on learning that the lab’s dog also survived and has been rescued by the police. Unlike the “hero” of To’s film, Rak is small fry (if well connected) and is not looking at anything more than significant prison time. Rak may not be fighting for his life but he has a number of reasons for switching sides, especially once Won-ho fills him in on Mr. Lee’s backstory and long history of abrupt purges.

Despite working for the organisation, neither Oh nor Rak had ever met “Mr. Lee”. No one knows anything about them – gender, nationality, name, or location. In fact, there may not even be a Mr. Lee. Perhaps “Mr. Lee” is merely the “god” of drug dealers – an abstract idea almost given flesh but existing in a spiritual sense alone. Nevertheless, the idea of a Mr. Lee has completely captured the heart of compassionate police detective Won-ho whose all encompassing need to find him has already severely destabilised his life. After failing to protect his informant, Won-ho’s complaint against Mr. Lee is now a personal as well as professional one. Not so much out of vengeance (though there is that too), but a need to make the deaths count and his mounting losses meaningful.

Yet as another Mr. Lee contender later puts it, salvation may not be a matter of faith and if your faith has been misplaced, death may be a healing. In believing so deeply in the idea of “Mr. Lee”, Won-ho has given him form and created an idol to be worshipped through devotion. “Brian” (Cha Seung-won), a higher ranking gangster and former preacher chased out of the US for getting his congregation hooked on cocaine, has his own particular brand of faith based problems but subscribes to much the same philosophy. He may really be Mr. Lee (as may anyone), but if he isn’t he’s determined to convince himself he is in order to see himself as something more than the failed son of a chaebol dad who couldn’t hack it in the family business or in the pulpit. Brian would be happy to die as Mr. Lee rather than going on living as “himself”. Won-ho, unable to understand why kids do drugs asks his informant who explains it’s mostly because life is rubbish. Later someone says something similar to Brian, that he’d rather delude himself with the belief that he’s “someone” rather than face the emptiness.

Despite himself, and as Rak is eager to remind him, Won-ho is dependent on his informant for the pursuit of his case. Won-ho is reluctant to trust him even though Rak seems to be actively working to protect him in this extremely dangerous and largely unfamiliar world. Rak, by contrast, is aware he hasn’t won Won-ho’s faith, but assures him that’s OK because Rak trusts him. Rak does indeed seem to have the upper hand along with mysterious motivations and a fishy backstory, but Won-ho’s desperation to get close to Mr. Lee leaves him wide-open, unwilling to trust his guide but too invested to consider cutting him loose. “Belief” becomes its own drug, a transformative ritual act which gradually erodes all other needs and leaves only emptiness in their place. Won-ho can’t even remember why he started chasing Mr. Lee, but all that remains of him is the chase – a true believer suddenly bereft of a cause. Lee Hae-young takes To’s nihilistic cynicism and subverts it with a focus on the personal as both men fight self created images of their individual demons but find themselves unable to escape from their mutually assured identities.


Believer was screened as part of the 2018 BFI London Film Festival.

A Tiger in Winter (호랑이보다 무서운 겨울손님, Lee Kwang-kuk, 2018)

Tiger in Winter poster“Life just keeps getting harder” sighs a weary policeman charged with extracting a coherent statement from an accidental hero who only wants to talk about a tiger. Lee Kwang-kuk’s third feature, A Tiger in Winter (호랑이보다 무서운 겨울손님, Horangiboda Museoun Gyeoulsonnim), is in some ways a more conventional exercise in comparison with the time bending reflexivity of his earlier work, but the journey he takes us on is similarly circular as a melancholy young man finds himself chased out of his natural habitat and cast adrift, outside of his comfort zone too resentful to crawl back into a familiar cage but too afraid to embrace his freedom. 

On the day a tiger escapes from the zoo, Gyeong-yu (Lee Jin-wook), a failed writer, “loses” his day job and has to temporarily vacate his apartment because his girlfriend’s parents are coming to visit and she evidently hasn’t told them she is “living in sin”. Gyeong-yu offers to stay and meet them, but bristles when his girlfriend wonders if he’s ready to make a firm a commitment. He packs and leaves, planning to return in a few days’ time when the coast is clear. Decamping to a friend’s place, Gyeong-yu continues his night “job” as a designated driver which brings him into contact with an old girlfriend – Yoo-jung (Ko Hyun-jung), who is also a writer and apparently successful but suffering from an extended bout of writer’s block and has descended into a self destructive spiral of alcohol fuelled existential desperation.

After reconnecting with Gyeong-yu, Yoo-jung pulls down a book he once gave her from her well stocked bookcase – a Korean translation of Hemingway’s The Old Man and the Sea. Hemingway’s hero fights his age as manifested in a powerful marlin and dreams of youth in the lions of Africa. The film’s English title, “A Tiger in Winter”, is perhaps a mild pun on “The Lion in Winter” which again tells of a once proud old man struggling to deal with his bodily decline, only Gyeong-yu is still young even if he feels himself diminished and brought low by life. Unlike the old man, he has stopped fighting and accepted his defeat. He no longer writes and flounders aimlessly, running away from the things that frighten him without aim or purpose. The loosed tiger is a manifestation of the fears Gyeong-yu refuses to fight which render him both physically and artistically impotent.

Writing, or perhaps art of any kind, becomes its own kind of vice – a dangerous addition, a need which must be sated or displaced without which the rest of life remains hollow. Unable to satisfy her need for creation, Yoo-jung has crumbled under the pressure of her own expectations and retreated into the comforting world of the permanently tipsy even whilst knowing that the alcohol itself inhibits her ability to create and forever separates her from that which would make her whole. She wants to stop, throws away her soju, but can’t move past her inability to face herself and resolve her creative doubts. Yoo-jung wants the quick fix, and like any addict, she is past caring about the harm she might do to herself and others in the pursuit of it.

Gyeong-yu, meanwhile, almost wallows in his degradation as he allows himself to be belittled by the customers who call for his services and insist on treating him like a servant. Designated driving doesn’t seem like a particularly safe arrangement for either party – many of Gyeong-yu’s customers are extremely drunk and willingly allowing a man they don’t know to drive them somewhere in their own car while they are barely conscious, while conversely many refuse to pay or accuse Gyeong-yu of damaging the car while berating him for acting in an insufficiently humble manner. Yet it’s not humiliation that knocks Gyeong-yu out of his stupor but trauma and a direct confrontation with someone else’s despair.

Tigers lurk everywhere, though when Gyeong-yu finally learns to look his in the eye it’s a very cute and non-threatening sort of tiger which perhaps makes him feel foolish for having evaded it for so long. Lee may not be playing with time in his usual fashion, but he sends Gyeong-yu retreating into the past all the same in an attempt to hide from his fears only to discover you can’t walk backwards into the future. An exploration of the destructive power of the creative urge, the soul crushing inertia of artistic block, and the continuing rootlessness of a life lived in flight, A Tiger in Winter is another beautifully poetic character drama from Lee whose world weary optimism loses nothing in its seeming simplicity.


A Tiger in Winter was screened as the final teaser for the London Korean Film Festival which will open on 1st November with Microhabitat. The full programme for this year’s event is now available on the official website – tickets on sale soon!

International trailer (English subtitles)

The Vanished (사라진 밤, Lee Chang-hee, 2018) [Fantasia 2018]

The Vanished posterThe past refuses to die in The Vanished (사라진 밤, Sarajin Bam) – Lee Chang-hee’s remake of the 2012 Spanish thriller, The Body. Ghosts, of one sort or another, torment both of our male leads – a dogged policeman and increasingly unhinged husband, as they try to solve the mystery of a disappearing corpse whilst each battling a degree of latent resentment towards various forces of social oppression. A tale of conflicting bids for vengeance, The Vanished pits an emasculated trophy husband against a controlling career woman wife while the forces of order look on in disapproval but then all is not quite as it seems and perhaps this is not the story we first assumed it to be.

The horror-inflected tale begins in a morgue on a rainy night as a disinterested security guard becomes unexpectedly spooked by his surroundings. Discovering one of the trays open and a body missing, the guard panics and feels himself stalked by something undead before being clubbed on the back of the head and knocked out. Maverick cop with a traumatic past Woo Joong-sik (Kim Sang-Kyung) arrives on the scene and discovers the missing cadaver belonged to prominent businesswoman Yoon Seol-hee (Kim Hee-Ae). The cause of death is thought to have been a heart attack brought on by her workaholic lifestyle but Joong-sik isn’t so sure. He hauls in the “trophy husband” – improbably good-looking university professor and sometime employee of Seol-hee’s pharmaceuticals company, Jin-han (Kim Kang-Woo). Jin-han has come straight from the flat of his pregnant mistress and is understandably on edge as every move he makes only further incriminates him in the “death” of his wife.

Increasingly unhinged, Jin-han is certain that Seol-hee is not really dead and has embarked on an elaborate plan of revenge for his affair with a student, Hye-jin (Han Ji-An). Lee wastes no time in confirming that Jin-han had at least intended to do away with his wife. Jin-han was apparently no longer interested in her money and would have wanted a divorce but believed his wife to be a ruthless woman who would never willingly let him go. Using an experimental anaesthesia drug, he hoped to get rid of her undetected but now fears that she has somehow woken up and wants her revenge. What Jin-han wanted, he claims, was his freedom – Seol-hee, an older career woman, bought him with trinkets, belittles his work, and refuses him all agency. He was tired of playing the toy boy and wanted his life back and so he chose to reassert his manhood through murder.

Of course, all is not quite as it seems. Through Joon-sik’s investigations, Jin-han comes to believe that perhaps Seol-hee planned the whole thing – anticipating that he would try to use the drug against her and engineering a situation in which she would fake her own death just to get back at him. Whether a ghost or not, Seol-hee haunts him, threatens his happy future with the sweet and innocent Hye-jin who calls him professor and respects him as a learned man, and seems set to achieve her goal if only by driving Jin-han out of his mind with worry and confusion.

Meanwhile, Joon-sik is battling another series of oppressive presences in the form a grudge against “the wealthy” possibly relating to a mysterious traumatic incident from his past, and a boss who wants him to find the missing body as quickly as possible and then forget the whole thing given the fact that Seol-hee and Jin-han had been a “celebrity couple” which makes all of this quite embarrassing for everyone. The two men end up engaged in a cat and mouse game as Jin-han becomes convinced that he’s the real victim in all this and is at the centre of an elaborate conspiracy leaving his pregnant girlfriend alone and vulnerable, while Joon-sik continues to push him towards confessing that he took the body and hid it possibly in some kind of fugue state.

“The body” is perhaps a better title as the concept itself comes in for constant reappraisal and we gradually understand that not everyone is talking about the same thing, leaving aside the complete erasure of Seol-hee as a woman with a name who may have been murdered by a vengeful husband (as unpleasant as she is later shown to be) in favour of viewing her simply as a nameless corpse or grudge bearing ghost. Twists pile on twists and history rewrites itself, but the buried past will someday be unearthed and justice served, if with a side order of irony.


The Vanished was screened as part of Fantasia International Film Festival 2018.

Original trailer (Korean subtitles only)

After My Death (죄 많은 소녀, Kim Ui-seok, 2017)

After my death posterKorea has one of the highest suicide rates in the world as the pressure cooker society conspires to railroad those who find themselves in someway excluded from its rigourously conformist demands toward inescapable despair. With the phenomenon so common, has it become true that society itself has become inured to its effects, seeking not to ease suffering but to control damage? For the clutch of schoolgirls at the centre of Kim Ui-seok’s After My Death (죄 많은 소녀, Choe Manheun Sonyeo), suicide has taken on its own allure as an escape from the demands they feel themselves unable to meet but there are few looking to guide them away from the abyss rather than to negate their own responsibility for failing to do so.

A high school student, Kyung-min, is missing. Her backpack and shoes have been found near a local bridge and it is feared that she may have committed suicide though there is no note or additional evidence to suggest that she has taken her own life nor have they found a body. With speculation rife, all eyes are on another student, Young-hee (Jeon Yeo-Bin), apparently one of the last people to have seen Kyung-min alive. Though Young-hee and Kyung-min had been good friends in the past, they were no longer close and had apparently run into each other by chance along with another friend of Young-hee’s, Han-sol. Han-sol’s testimony differs from Young-hee’s in that she says Kyung-min seemed “gloomy” and that the evening had taken an intense turn after she suddenly declared her love for Young-hee only for Young-hee to tell her to prove her devotion by dying.

Things get worse for Young-hee when the police track Kyung-min’s movements via CCTV and find footage from a nearby tunnel which appears to show a gentle kiss between the two girls. Hounded, Young-hee finds herself a target of persistent harassment by her school mates who insist that she is in someway cursed and “infects” people with “bad thoughts” while Kyung-min’s mother (Seo Young-hwa) has also started semi-stalking her hoping to find out “the truth” about what happened to Kyung-min.

The other girls, testifying to Kyung-min’s character, reinforce the view that she was “gloomy”, a loner who didn’t fit in. She didn’t like K-pop, didn’t socialise much, and was into depressing things. When suspicions rise regarding her possible suicide, the school is quick to leap to conclusions – that like many in South Korea she had become over anxious about college applications, but as her grades were good and Kyung-min was a diligent student this explanation seems unlikely which works out well for the school. Kyung-min’s teacher quickly goes into damage limitation mode, confirming that she had been withdrawn, struggled to communicate with her classmates, and was probably very lonely though he lays most of the blame on melancholy ‘90s shoegaze which he assumes must have somehow tipped her over the edge. What all of this means is that it’s not his fault, and he feels he has justification for “failing” in his duties of pastoral care towards a student whom by his own admission he suspected of being in distress.

During Young-hee’s questioning, she repeatedly tells the police officer in charge that she too is suicidal and that she told Kyung-min about her own plan to jump off a bridge because she thought it might help. Young-hee is quite clearly depressed even before all of these very difficult events but finds no one willing to listen to her distress, only making herself a magnet for further hostility from just about everyone with even her teacher berating her for stealing Kyung-min’s thunder in insisting that she stole her idea of jumping off the bridge rather than trying to commit suicide through an overdose of sleeping pills which, Young-hee claims, was her intention before she discouraged her lest she end up still alive but brain damaged.

The lingering doubt is to which “me” is the owner of “death” in the title, or to whom the Korean title of “unrighteous girl” might apply. The motives for Kyung-min’s (presumed) death may be beside the point as a policeman investigating the case suggests – perhaps she didn’t want “understanding” so much as oblivion. What we’re left with is a rather poignant love triangle and the suggestion that Young-hee’s intense depression is a result of repressed same sex attraction which opens another series of questions about which acts are “unrighteous” – suicide or love, with the unfortunate implication that perhaps one cannot but lead to the other. In any case, the problem is that all these kids want to die and the adults no longer want to stop them, only to avoid any potential responsibility for what the children in their care may or may not try to do. Melancholy and drenched in despair, After My Death has nothing but sympathy for its lonely teens but finds no possible escape from the crushing vice of a blame fuelled conformist society.


After My Death was screened as part of the New York Asian Film Festival 2018.

Original trailer (English subtitles)

Interview with director Kim Ui-seok from the 2017 Busan International Film Festival (English subtitles)

1987: When the Day Comes (1987, Jang Joon-hwan, 2017)

fullsizephoto931939The political history of Korea is long and complex and oftentimes sad. The events depicted in 1987: When the Day Comes (1987), pivotal as they were, occurred just 30 years ago. Yet the recent past has also been one marked by protest, public anger, and political scandal though this time around with far less fear or danger. The protests of 1987 were a different story. The rule of Chun Doo-hwan, a military dictator who had seized power following the assassination of the previous dictator, Park Chung-hee, was one of extreme oppression which had already seen a widespread massacre of peaceful protestors by the state in Gwangju in 1980. Chun’s term, under the constitution, was set at seven years after which many hoped for a path to modern democracy but those hopes were dashed when he announced an intention to appoint his successor rather than call a free and fair election.

In depicting the climactic events of that summer, Jang Joon-hwan begins with chaos as a doctor is summoned to a mysterious room where a young man lies unconscious in a pool of water. The police have gone too far, and boy has died during interrogation. Aware of the potential danger of the public finding out that the state has in effect murdered a suspect in an act of torture, the head of the ACIB, Park (Kim Yun-seok), orders the body to be quickly cremated. This, however, needs a certificate signed by a prosecutor and Prosecutor Choi (Ha Jung-woo) is fed up with the ACIB and unwilling to cooperate especially as he smells a rat with the cause of death for a healthy 22-year-old listed as a “heart attack”. Not wanting to be on the wrong side of it if it does get out, Choi refuses the cremation and orders an autopsy which in itself triggers a series of other events eventually bringing the government to its knees.

The state remains cruel and duplicitous. The death of Park Jong-chul (Yeo Jin-goo) would become a catalyst and a rallying call, not just for the injustice of it but for the injustice of covering it up. Park’s family are denied their basic rights, his mother and sister literally dragged away from the morgue screaming while his traumatised father looks on in silent agony. They say that Park was a communist, that he died of fear because he weak while claiming all along to have done no wrong. Only when the “truth” begins to emerge does the ACIB decide to hang a few of its guys out to dry, urging them to “patriotically” take one for the team and head to prison for a while with a hefty compensation package to help sweeten the deal.

The death in custody becomes just one event in a situation spiralling out of control. Paranoid in the extreme, the Chun regime is also working on bringing down a “North Korean Spy Network” controlled by a democracy activist on the run who, unbeknownst to them, is also working with the Catholic Church who will eventually prove pivotal in delivering the truth to the people. Meanwhile, the press has also decided to jump ship, ignoring the government’s carefully crafted guidelines in favour of running actual news. Chun’s iron grip is slipping.

Jang’s biggest takeaway is that corrupt regimes crumble when enough people find the strength to go on saying no. It begins with Choi refusing to stamp a certificate then travels to the reporter who won’t back down, passes on to the secret revolutionaries bravely carrying messages at great personal costs, the not so secret clergy who perhaps have more protection to speak their minds (up to a point) than most, and of course the students in the streets who risked their lives to build a better future. One of the few completely fictional characters, the niece (Kim Tae-ri) of a prison guard (Yu Hae-jin) charged with conveying messages to an activist in hiding, proves the most illuminating in her inward struggle towards the democratisation movement. Afraid of the consequences and preferring to remain politically apathetic, she is eventually radicalised through witnessing the brutality of the regime first hand and suffering personal loss because of it.

Playing out as a taut thriller, 1987: When the Day Comes has a lived in authenticity from the motif of being constantly deprived of one shoe by a cruel and absurd regime to the deadly serious ridiculousness of men like Park who hate “the enemy” enough to destroy the thing they claim to love in pursuit of it. Timely and filled with melancholy nostalgia, Jang’s depiction of the pivotal events of 30 years ago is also a rallying cry in itself and an important reminder that the fight for justice is never truly won.


Screened at the 20th Udine Far East Film Festival.

International trailer (English subtitles)