Bungee Jumping of Their Own (번지점프를 하다, Kim Dae-seung, 2001)

Bungee Jumping on theie own posterLove is a continuous stream, according to the debut film of Kim Dae-seung, Bungee Jumping of Their Own (번지점프를 하다, Bungee Jump Hada). The title may sound whimsical, but it’s less the physical act of fall and rebound we’re talking about here than a spiritual bounce, souls which spring from one body to another and eventually find their way home. Kim presents eternity as one great confluence and love as an enduring bond which survives not only death and time but transcends existence itself. Love is a spiritual cause, but, as the rather muddy philosophy goes on to suggest, perhaps not so free of social mores as it would like to believe itself to be.

In 1983 university student In-woo (Lee Byung-hun) meets the love of his life, Tae-hee (Lee Eun-ju), as she steals a place under his umbrella during a violent rainstorm. Shy and introverted, In-woo waits at the bus stop where Tae-hee abruptly left him hoping to see her again, finally encountering her by chance on his university campus. Despite his diffidence, the pair eventually become a couple and are very happy together but In-woo will shortly have to leave for his military service. He asks Tae-hee to meet him at the station, waiting once again only to be left alone on the platform as the trains fly by.

Flashforward 17 years to the start of a new millennium and In-woo is now a slick, confident man entering middle-age, married to someone else and with a small daughter of his own. He teaches high school and is the kind of inspirational teacher many dream of being, well-respected by his students for his patience and faith as he remains committed to stand up for them no matter what. In-woo might have thought he’d put the memory of Tae-hee to the back of his mind to go on living, but a strange young man, Hyun-bin (Yeo Hyeon-soo), begins to reawaken in him the buried memory of his first love. Seeing echoes of Tae-hee in the young male student, In-woo finds himself facing several different kinds of social and internal pressures to which he had previously given little thought.

Arriving in 2001, Bungee Jumping of Their Own is (sadly) one of the first “mainstream” films to touch on the theme of homosexuality, only the film itself is quite determined to negate any kind of homosexual reading into its central love affair – it is, after all, not “Hyun-bin” that In-woo is falling in love with, but the reincarnated soul of Tae-hee, which is to say a “female” soul and not a male one. Though Kim’s metaphor of existence as a great river through which love endures across time and societies ought to make gender and the physical body an irrelevance, same-sex love is relegated to an inappropriate absurdity. In a playful conversation about reincarnation in which In-woo and Tae-hee pledge their love to one another, In-woo jokingly asks what would happen if he were too were reincarnated as a girl, to which Tae-hee replies that they’d just have to wait for the next reincarnation. Despite the endurance of their love, it is apparently not viable outside of a traditional male/female pairing and any other iteration is tragedy to which the only solution is suicide and the hope for a quick reincarnation to find each other again in more socially appropriate forms.

Nevertheless, Kim does also do his best to criticise a still conservative society’s prejudice against homosexuality though this too has its problematic elements in unwittingly conflating two issues which ideally speaking are better not conflated. In-woo is a teacher falling in love with a boy who is not only a minor but also his student – a situation clearly inappropriate in any and all circumstances. However, the while the crusty old dinosaurs in the staffroom lament the new liberal society and fear being branded sex pests for leering at the girls, claiming it’s their own fault for “looking like that”, In-woo comes in for an especial level of vitriol targeted not at a pervy teacher but simply at a “gay” man while Hyun-bin is gradually ostracised by his friends simply for being the object of his affection and therefore tarred with the gay brush.

Meanwhile, the conflicted In-woo goes to see a doctor to correct his “sickness” only to be told that his responses indicate a “normal” heterosexual man with that caveat that he should also regard his interest in men as a “normal” part of life. Desperate to not to acknowledge his same-sex desire, In-woo becomes violent towards his wife in an effort to reinforce his masculinity, unwilling to discuss with her the real reasons their marriage has always been hollow – not his possible bisexuality, but that he has only ever loved Tae-hee and will only ever love Tae-hee in whichever form she appears.

In-woo makes a point of teaching his students that “different” does not mean “wrong” but it’s apparently not a lesson he’s able to internalise. Kim plays with dualities, idealises imperfect symmetries, and shows us that things which might seem “different” from one perspective are in essence the same, yet he walks back his message of acceptance to emphasise the importance of conforming to social norms rather than allowing the love between Tae-hee and In-woo to exist in the physical world in any other iteration than male/female. Nevertheless, Kim’s true intention of painting love as a continuous stream made possible by cosmic serendipity is a romantic notion difficult to resist and even if his reasoning proves occasionally hollow he has perhaps opened a door towards a greater understanding.


Bungee Jumping on Their Own was screened as part of the Rebels With a Cause series at the Korean Cultural Centre London.

Original trailer (no subtitles)

New World (신세계, Park Hoon-jung, 2013)

new world posterUndercover cop dramas have a long history of dealing more delicately with the nature of identity than in just a simple good guy/bad guy dichotomy, but New World’s (신세계, Sinsegye) moody noir setting ensures that the lines are always blurred and there may not in fact be any sides to choose from. Directed by Park Hoon-jung, scriptwriter of I Saw the Devil and The Unjust, New World makes plain that there may not be so much difference between a police officer and a gangster when each acts covertly, breaking their own rules and throwing any idea of honour out of the window in favour of self preservation or aggrandisement. In this worldview the victory of selfishness is assured, the law protects no one – not even its own, and the gangster, well, he only protects himself.

When the “CEO” (Lee Kyoung-young) of the Goldmoon “corporation” is killed in a “freak” car accident, his sudden absence creates a power vacuum in which his prime underlings, supported by their respective factions, vie for the top spot. Unbeknownst to them, police chief Kang (Choi Min-sik) has taken an interest in this suddenly instability in the largest crime syndicate in Korea and intends to launch Operation New World to interfere with the succession and ultimately install his longterm undercover agent in the director’s seat.

Lee Ja-sung (Lee Jung-jae) has been undercover for ten years, during which time he’s become the right hand man to one of the contenders to take over in the flashy Jung Chung (Hwang Jung-min). The opposing number, Lee Joong-gu (Park Sung-woong), is unscrupulous and suspicious – he has it in for Ja-sung and sees the succession as his natural right. Ja-sung, for his part, had assumed the death of the Goldmoon CEO would signal the end of his mission, allowing him to go back to his regular cop life. Soon to be a father, he’s tired of his duplicitous lifestyle and burned out on secret keeping but perhaps so long spent among the gangsters means his more natural home is exactly where he is.

This is certainly a duplicitous world. Grizzled police chief Kang may be on a mission to take down an all powerful crime group, but his methods are anything but orthodox. As usual in deep cover stories, only Kang and one other officer know of Ja-sung’s police background (at least, that’s what he wants Ja-sung to think), but Ja-sung may not be the only undercover operative Kang has on his books. Ja-sung is also sick of Kang’s obsessive surveillance which records the entirety of life in painstaking detail listing everywhere he goes and everything he eats, apparently even down to the sex of his unborn child. No one can be trusted, not even those closest to him, as Kang’s all powerful spy network has eyes and ears in every conceivable place.

Ja-sung’s identity crisis is never the focus of the narrative and a brief coda set three years previously may suggest that he’s already made his choice when comes to picking a side, but then the lines are increasingly blurred between good and bad even when the gangsters are seen committing heinous acts of torture and violence, making their enemies drink cement before dumping them in the nearby harbour. Ja-sung’s friendship with Jung Chung may be the most genuine he’s ever had in contrast to his relationship with Kang in which he remains a tool to be used at will and possibly disposed of at a later date.

Park holds the violence off as long as possible, preferring to focus on the internal psycho-drama rather than the bloody cruelty of the gangster world, but eventually violence is all there is and Park lets go with one expertly choreographed car park corridor fight followed by frenetic lift-set finale. The “New World” that the film posits is a dark and frightening one in which it’s dog eat dog and every man for himself with no room for morality or compassion. When the law fails to uphold its own values, others will prevail, for good or ill.


Screened at London Korean Film Festival 2017. Also screening in Sheffield (13th November), Glasgow (18th November) and Belfast (18th November). New World will also be released on DVD/blu-ray from Eureka Entertainment on their new Montage Pictures sub-label.

International trailer (English subtitles)