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)

A Taxi Driver (택시 운전사, Jang Hoon, 2017)

A Taxi Driver PosterIn these (generally) well connected days of mass communication when every major event is live broadcast to the world at large, it’s difficult to remember a time when dreadful things might be happening the next town over yet no one knows (or perhaps dares to ask). Until 1979, Korea had been under the control of an oppressive dictatorship which was brought to a sudden and bloody end by the murder of the president, Park Chung-hee, at the hands of one of his aides. Though the democracy movement had been growing, hopes of installing a modern governmental system were dashed with the accession of the de facto president, General Chun Doo-hwan, who reinstated martial law, placing troops on the streets on the pretext of a possible North Korean invasion. In an event known as the Gwanjgu Uprising, a long term peaceful protest led by the area’s large student population was brutally suppressed with large numbers dead or wounded by government soldiers.

Meanwhile, in Seoul, regular Joe taxi driver Kim Man-seob (Song Kang-ho) is trying to go about his everyday business and is finding all of this protesting very irritating, especially when he is forced to swerve to avoid a young man running from riot police and breaks the wing mirror on his otherwise pristine vehicle. Man-seob thinks these kids don’t know they’re born, if they’d spent time abroad like he did in Saudi Arabia, they’d know that few places are quite as nice as Korea is. A single father raising his young daughter alone, Man-seob’s major worry is money. He’s four months behind on his rent and his daughter keeps getting into fights with the landlord’s son. Actually, the rent might not be such a pressing problem seeing as Man-seob’s landlord is a close friend and colleague – close enough for him to cheekily ask to borrow the money to “pay” it so his friend’s wife will stop being so mean. When he overhears another driver boasting that he’s picked up an improbably large fare that’s exactly the same amount as the money Man-seob owes, Man-seob bluffs his way into stealing it out from under him. Man-seob, however, has not stopped to consider why a foreigner wants to pay him an insane amount of money to drive from Seoul to provincial Gwangju.

Like many in the Korea of 1980, Man-seob is a man just trying to get by. He has his private sorrows, but largely avoids thinking about the big picture. To him, the Seoul protest movement has become such normal inconvenience that he keeps cream in his car to help cope with the smell of the smoke bombs. He thinks all of this rancour is just kids out of control and will eventually blow over when order is restored.

Others feel differently. A BBC journalist relocated from Korea to Tokyo describes the situation as “tense” and avows that this time something may be about to break. Tokyo in 1980 is a nice place to live, but extremely boring if you’re an international journalist and so German reporter Peter (Thomas Kretschmann) catches the next flight out with the intention of investigating the rumours of state sponsored violence coming out Gwangju.

Though Man-seob’s original motivation is the money, the events he witnesses in Gwangju have a profound effect on the way he sees his country. Bypassing roadblocks and sneaking into a city under lockdown, Man-seob and Peter witness acts of extreme violence as the army deploys smoke grenades, beatings, and bullets on a peaceful assembly of ordinary people. Prior to the military’s intervention, the atmosphere is joyful and welcoming. The people of Gwangju dance and sing, share meals with each other, and all are excited about the idea of real social change. This juxtaposition of joy and kindness with such brutal and uncompromising cruelty eventually awakens Man-seob’s wider consciousness, forcing him to rethink some early advice he gave to his daughter concerning her difficult relationship with the little boy next-door to the effect that non-reaction is often the best reaction.

Rather than focus on the Uprising itself, Joon presents it at ground level through the eyes of the previously blind Man-seob and the jaded Peter. Inspired by real events though heavily fictionalised (despite a search which continued until his death, Peter was never able to discover the true identity of the taxi driver who had helped him), A Taxi Driver (택시 운전사, Taxi Woonjunsa) is a testament to the everyman’s historical importance which, even if occasionally contrived, speaks with a quiet power in the gradual reawakening of a self-centred man’s sense of honour and personal responsibility.


A Taxi Driver was screened as the sixth teaser for the upcoming London Korean Film Festival 2017. Tickets for the next and final film, The Villainess which screens along with the official programme launch at Regent Street Cinema on 11th September, are on sale now.

Original trailer (English subtitles)

New Trial (재심, Kim Tae-yun, 2017)

new trialIt’s a strange paradox that in a land defined by corruption of the legal system, your only hope my lie in a new trial. So it is for the hero of Kim Tae-yun’s latest film. Inspired by a real life miscarriage of justice (a case which was in fact still continuing at the time of filming), New Trial (재심, Jaesim) takes aim at everything from social inequality to unscrupulous lawyers and abuse of police power. A teenager pays dearly for being in the wrong place at the wrong time, not only losing 10 years of his life but the entire possibility of his future now that he’s forever branded a criminal. That’s aside from leaving his ageing (now blind mother) alone with no means of support and the additional burden of trying to clear her son’s name.

In the year 2000, reckless teen Hyeon-woo (Kang Ha-Neul) gets himself mixed up in the stabbing of a taxi driver. Despite sticking around to do his civic duty, he gets arrested, tried, talked into a false plea bargain confession and serves 10 years behind bars. Hyeon-woo might have been released after serving his time but he’s not the carefree kid he was before. Sullen, angry, and an ex-con without qualifications, he can’t find a job and has the additional burden of trying to care for his now blind mother. Even if he technically confessed to the crime because his conviction was inevitable and he wanted to get out faster so his mother wasn’t left alone, Hyeon-woo has his hopes permanently fixed on a retrial so he can clear his name once and for all.

Enter shady lawyer Park Jun-young (Jung Woo). Park is not your usual pick for a social justice case. He became a lawyer for the big bucks and macho posturing. After he loses a big case, incurs numerous debts, and is left by his wife and child, Park joins a big firm on a pro-bono basis, hoping to pick up a big client, impress them and get another permanent position. Thus he stumbles on Hyeon-woo’s case and, given the notoriety of the incident, thinks there may be some mileage in it.

Park may start off as the cynical, winner takes all school of legally savvy but morally bankrupt attorney but the more he looks into Hyeon-woo’s case the angrier he finds himself getting. Not only was Hyeon-woo betrayed by the police who knew the identity of the real killer but chose to scapegoat a poor boy instead, but he was also ordered to pay vast sums in compensation to the victim’s family. Saddled with an irreparable debt for a crime he did not commit, Hyeon-woo has reason for his passive aggressive defeatism and lack of faith in Park but gradually begins to come back to life when provided with real hope of achieving his goal of a new trial.

Yet much of the drama revolves around the two as they negotiate an uneasy trust. Hyeon-woo has been let down before by men in who said they could help only to make a speedy exit taking Hyeon-woo’s hard won money and faith in the future with them. Park starts off claiming Hyeon-woo’s guilt or innocence is an irrelevant detail, all that matters to him is winning the case and thereby getting his career back on track. Flitting through periods of winning and losing faith in each other the two are eventually able to come together in their common goal, each working for justice not just for Hyeon-woo but for all the other Hyeon-woos betrayed by political and judicial corruption.

The real life case which inspired New Trial is still not settled but the man who inspired the originally slippery Park has gone on to become Korea’s new trial king – coming to the rescue of those who find themselves at the mercy of shady forces and railroaded into paying for something they did not do. Park finds few allies in his new quest for social justice, and none among the ranks of the swanky lawyer elites he was so desperate to join, but every movement needs a leader and perhaps this one starts with a man called Park and a massive change of heart.


New Trial was screened at the 19th Udine Far East Film Festival

Original trailer (English subtitles)

Confidential Assignment (공조, Kim Sung-hoon, 2017)

confidential assignmentSouth Korean cinema has a fairly ambivalent attitude to its policemen. Most often, detectives are a bumbling bunch who couldn’t find the killer even if he danced around in front of them shouting “it was me!” whereas street cops are incompetent, lazy, and cowardly. That’s aside from their tendency towards violence and corruption but rarely has there been a policeman who gets himself into trouble solely for being too nice and too focussed on his family. Confidential Assignment (공조, Gongjo), though very much a mainstream action/buddy cop movie, is somewhat unusual in this respect as it pairs a goofy if skilled and well-meaning South Korean police officer, with an outwardly impassive yet inwardly raging North Korean special forces operative.

In the South, Gang (Yu Hae-jin) is hot on the trail of a suspect he’s been chasing for quite some time but just as he’s finally about to catch him, his phone starts ringing. The cute ringtone featuring a little girl’s voice saying “daddy, pick up – don’t pretend to be working” is impossible to ignore and so Gang answers, chats to his daughter, and lets the suspect get away. In the dog house at work, Gang winds up with all the rubbish jobs before finally being saddled with a “special assignment” – babysitting a North Korean policeman as part of a collaborative detail chasing a possible defector/dangerous criminal the North are keen to drag back home for possibly inhumane treatment.

The Northerner, Lim (Hyun Bin), has his own reasons for chasing the criminal in that he is the only surviving member of a squad wiped out when a superior officer decided to go rogue and run off with a set of plates for printing counterfeit money. The North need the plates back, but Lim’s motives are personal more than merely patriotic and what he wants is vengeance for the death of someone close to him rather than protecting the embarrassing secret of North Korea’s counterfeit currency conspiracy.

For obvious reasons neither of the two men is able to trust the other but the confusion and suspicion is only increased by Gang’s total lack of knowledge about the case. All he knows is that they’re looking for a defector – no more, no less. Lim isn’t happy about having a South Korean cop getting in his way and quickly ditches him as soon as possible only for Gang to turn on his ace detective abilities and eventually end up at the same place through policeman’s instinct. Gradually a sort of grudging camaraderie builds up between the two as they’re forced to spend more time together and their odd couple buddy cop antics become the film’s main draw.

Lim, knowing nothing of life in the South yet suspicious of Gang, goes along with some of Gang’s goofier attempts to rein him in such as extended gag in which he gets him to put on an ankle bracelet by telling him that it’s a secret detective’s badge, reassuring him that his is in the cleaners, only for him to meet another suspicious type out on the road. So that he can keep track of him better, Gang’s superiors order him to take Lim home so he can watch him day and night much to the consternation of his wife but delight of his slightly younger sister-in-law who is instantly smitten by Lim’s chiseled features. Lim reacts to all of this with obvious vigilance but comes to like and respect Gang’s family who eventually welcome him into their home without reservation, even taking pains to try cooking North Korean food when he appears reluctant to join them at mealtimes.

Never quite engaging with the political subtext, Confidential Assignment is less about North/South co-operation than it is about complementary skills and the creation of an unexpectedly complete buddy cop unit. Gang is instantly impressed (and a little scared) by Lim’s obvious physical capabilities as he leaps from high balconies and fights off a whole room of bad guys armed only with soggy toilet roll, but Lim also comes to respect Gang’s bravery, kindness, and dedication to his family. Confidential Assignment might not be the most nuanced cinematic portrayal of North/South relations but its good-natured warmth, silly comedy, and impressively staged action scenes make it one of the most entertaining.


Confidential Assignment was screened as part of the 19th Udine Far East Film Festival.

Original trailer (English subtitles)