Director Hong Sang-soo’s Realm of Comic Realism

New in local theaters and currently showing in the out-of-competition section of the Cannes Film Festival is Hong Sang-soo’s latest feature ``Like You Know It All.’’

Like Hong’s other films, ``Know’’ is told in a live journal-like format that is reminiscent of Eric Rohmer. While it is set in a couple of Korea’s top vacation spots, the movie, as typical of its minimalist director, features characterless hotel rooms and drinking spots and showcases more of the mirror-image structures inherent to Hong’s stories of frustrated ideals and sexual desires.
Modest, fragmented and meandering it may be, but the low-budget digital franchise stars some of South Korea’s most high-profile actors tangled up in mundane yet comic situations and engaged in phony talks about art, philosophy and love.

Like his previous feature ``Night and Day,’’ which was shown at last year’s Berlinale, ``Know’’ stars another one of the director’s archetypal womanizing anti-heroes. Actor Kim Tae-woo (Hong’s 2004 ``Woman Is the Future of Man’’) is Koo, a rising filmmaker known for his artsy works.

He is invited as a judge for the 2008 Jecheon International Music Film Festival (JIMFF). But the festival, set among the cascading mountains and scenic lakes of North Chungcheong Province, is just an excuse for everyone to have drinking parties. Here, Hong does not hesitate to bash the film industry, by depicting a know-it-all programmer (Uhm Ji-won) and superficial movie critics to the smug star director and the desperate actress trying to climb into his bed. Koo is at once the aloof observer and the passive participant in the shallowness.

Meanwhile, Koo runs into an old buddy, Bu (Kong Hyeong-jin), and is invited to his happy home. Joined by Bu’s wife Yu-sin (Jeong Yu-mi), the three start another round of drinking. A series of mishaps, however, result in Koo being labeled a sexual harasser, and back at the festival, he again gets blamed for another accident involving too much booze and compromised sexual morals.

Twelve days later, Koo is invited to give a lecture at a film school on Jeju Island. Of course, the camera foregoes the beautiful palm trees and beaches of Korea’s Hawaii, and instead takes viewers to more drinking parties. This time he reunites with a senior colleague, the elderly painter Yang, and is invited to his home.

Yang’s new wife turns out to be none other than Koo’s old flame, Koh (Go Hyun-jung). The two keep their past affair a secret from Yang, and end up in bed together _ a casual affair for Koh, while a pitiful, self-gratifying attempt for Koo to attach meaning to his frustrated past. Things become complicated, however, when the neighbor Jo (Ha Jung-woo), who swears a bizarre sense of loyalty to Yang, catches them.

``People don’t make use of all the gifts in life,’’ Hong once said. ``They can be ungrateful about the good things in life while they agonize over unnecessary desires, beliefs that are unfounded, self-destructive or oppressive, and misguided ideals. I am intrigued by such things.’’

In ``Know,’’ Hong explores the small yet affecting results of misunderstanding and misinformation, and how history is bound to repeat itself when people fail to understand their mistakes. Running as long as ``Night and Day,’’ the director’s longest film yet, ``Know’’ develops in a tangential yet natural, and moreover, extremely funny, way. Some say that the realist always makes similar movies; Hong is consistent but is also consistently evolving, bringing new dimensions of small and subtle yet delightful rhymes.

Read my review of Hong's "Night and Day"

Hernandez Converses With Images in `Rain’

This is really a beautiful film, and it was a great pleasure speaking with the director!

Director Paula Hernandez /Korea Times Photo by Lee Hyo-won

JEONJU - If a picture paints a thousand words, then Paula Hernandez’s ``moving images’’ depict an infinite stream of (un)consciousness. The Argentine director has brought her second feature film ``Rain’’ to South Korea to vie in the International Competition section of the 10th Jeonju International Film Festival, which comes to a close today in North Jeolla Province.

``It’s absolutely different and interesting,’’ Hernandez said about her first visit to Asia in an interview with The Korea Times Tuesday in Jeonju. ``I took a lot of photos of women in the market. You never see anything like that in Argentina, it’s so fascinating,’’ she said, showing images of middle-aged ``ajumma’’ gathered around, making food, in the local open air market.

The 40-year-old is always shooting her camera lens everywhere, and took many to write the script for ``Rain.’’ ``It was a conversation with words and images. Rain makes everything blurry and foggy. The rain in the movie is not melancholic rain but something that makes you feel stuck,’’ she said.

``Rain’’ features, most appropriately, endless streams of rain. In wintry Buenos Aires, a woman is stuck in wet weather and traffic. Suddenly, Roberto darts into her car. A mugger? Almar hesitates, but extends her hospitality to this confused-looking man who, dressed in fine clothing, has imported cigarettes, a silk handkerchief and a bleeding hand.

Roberto, who is from Madrid, may be feeling lost in the foreign apartment building of his late father, whom he never met, but Almar is the ``homeless’’ one who has left her husband and is living in her car, which is equipped with everything from a percolator to flower pot. The two strangers -- a man who doesn’t know where he is coming from and a woman who doesn’t know where she is going -- keep running in to each other in the following few days. The intervention of chance results in confusion, and, ultimately, clarity, when the rain stops and the traffic starts moving again.

The award-winning director of ``Herencia’’ (2001) presents a story akin to ``Once’’ (2006), where two lost souls share a small but intimate encounter, which may even be love, but one that is consummated in being unconsummated. But unlike the musical Irish movie, ``Rain’’ keeps everything minimal, from the score and palette to the characters and objects captured in the frame.

``Less is more,’’ said the director. ``Rain itself is a melody, along with the noises of cars and traffic jams.’’ Nevertheless, things utterly quotidian -- a traffic jam, greasy diner, deserted parking lot -- take on a striking elegance, and the things unsaid -- a transient smile, results of a pregnancy test never shown -- speak loudly.

Almar, who leaves her husband of nine years in the movie, perhaps reflects the director’s own divorce from a 10-year marriage. ``Filmmaking is not a profession, it’s what you are,’’ she said. ``It puts all my interests -- writing, reading, people stories and real things, images, and music -- all together with my sensibilities.’’

Born in 1969, Hernandez entered the film industry at the age of 18 as a production designer assistant. One thing led to the next and she studied at Agustin Alezzo’s drama workshop and Universidad del Cine (National Film University). She has directed commercials, short films, documentaries and advertisements.

Does being female matter in the Argentine film industry? ``It used to, in the generation before mine. Actually, even for my first film (in 2001), people asked me about being a woman director. I can’t say it was more difficult or easier. But today, there are many, many female students studying film,’’ she said, suggesting that gender is becoming less of an issue.

More problematic, however, is the financial crisis back home that is affecting filmmaking in general. ``You eventually find a way to fund a movie, but the problem occurs afterward with distribution,’’ she said. But Hernandez marches on with her passion.

Her next project will be a film adaptation of the novel ``Un Amor para toda la vida’’ by Sergio Bizzio, who inspired the Cannes award-winning film ``XXY’’ (2007). ``Filmmaking is slow in Argentina,’’ she said, and during the prolonged preparation for the movie, she plans to shoot a funky character-based documentary. ``It’s important to keep yourself busy rather than wait listlessly,’’ she said, smiling.

110 minutes. Distributed by Argentina Video Home, Buena Vista International. In Spanish.

"Cyborg She," One Man's Perverse Fantasy

Director Kwak Jae-yong has been giving less than stellar performances ever since the South Korean megahit ``My Sassy Girl’’ (2001) and the mellow romance ``Classic’’ (2003) ― and he makes an effort to redeem himself, rather fruitlessly, in ``Cyborg She.’’

The Korea-Japan joint production nevertheless held a top spot in the Japanese box office for five weeks and sold over 110,000 DVDs. The movie translates into real action akin to Japanese sci-fi anime, and is not without its charms, particularly with some striking visuals and top stars Haruka Ayase and Keisuke Koide giving endearing performances.

But this reporter ― having loved Kwak’s ``Sassy’’ and ``Classic’’ (2003), despised ``Sassy’s’’ prequel ``Windstruck’’ (2004) and felt pity for ``My Mighty Princess’’ (2008) ― was not at all convinced by ``Cyborg’s’’ perverse pursuit of an older man’s self-gratifying fantasy. ``This movie is like a gift to myself, to my lonely days as a young man without a girlfriend,’’ Kwak told reporters following the press preview in Seoul, Wednesday.

The 49-year-old filmmaker emphasized that the movie, despite its recurring theme of a quirky young woman shaking up and ultimately saving the life of a lonely, spineless man, should not be seen as part of a trilogy with ``Sassy’’ and ``Windstruck.’’ But the director relies too much on the premise of the emotional hinge of unrequited love beneath the surface of some pretty bad slapstick.

Lonely geek Jiro (Koide) is no longer so lonely when a femme cyborg (Ayase) crashes his birthday party. She has traveled back in time from the year 2133, to help him and all of humanity, and as an added bonus, has his ex-girlfriend’s pretty looks. She tries to blend into the local scene by shopping for clothes, even though it inevitably involves giving electric shocks to the cashier, and developing a taste for fried chicken, though eating them whole. Such third rate jokes set up the slapstick for the next few reels and are completed by her efforts to rescue Jiro and other humans like an anime Supergirl.

The story does pull at the heartstrings, however, when the cyborg arranges a time warp for them to visit Jiro’s hometown, which has been destroyed by an earthquake. The big budget franchise recreates a beautiful and nostalgic, storybook-like traditional Japanese town and conjures up childhood wonders. It’s quite ironic though that the most ``fake’’ (is it a time warp or a staged hypnosis? We don’t know) moment is the most compelling in the whole story.

Back in reality in Tokyo, our protagonist starts falling for the lovely robot. Jiro agonizes over whether, beneath her fixed smile, the cyborg can ever feel his growing attachment to her. When an earthquake hits the city, however, it's a question Jiro, rather than she, has to deal with. This is where the film’s 10 billion won is mostly poured into, and is indeed spectacular, but the climactic drama between the two characters is necessary to cover up some of the artifice.

Koide assumes the most expressive role, but it's Ayase who engages your attention as the always smiling, lovely cyborg who may have a blooming sense of human emotion. Kwak strongly emphasized that ``Cyborg’’ is a sci-fi movie and it was indeed featured as the closing film for the 2008 Pucheon (Bucheon) International Fantastic Film Festival (PiFan). Given the plotline, one might have expected the cyborg to experience some kind of existential struggle like ``Bicentennial Man.’’ Instead, it’s about a young science major, who, frustrated about not having a girlfriend, creates a pretty robot that can stay by his side.

In theaters May 14. 100 minutes. 12 and over. Distributed by NEW.

'X-Men' Explores Wolverine's Humanity

``X-Men Origins: Wolverine’’ marks its theatrical release in South Korea Thursday, and will be followed in May by other highly anticipated Hollywood blockbusters.

``Wolverine,’’ the prequel to the popular mutant franchise, traces the origins of Logan-cum-Wolverine’s mysterious past. In recent years, prequels to superhero stories have focused on their humanity, showing their mortal flaws and existential concerns. While ``Wolverine’’ is not as sinister or thought-provoking as ``The Dark Knight’’ of the latest ``Batman’’ franchise, it features a more complex narrative than what moviegoers may be used to, with the protagonist constantly torn over what Hugh Jackman calls ``anger management issues.’’

The glossy, high-tech look of the first three ``X-Men’’ movies is also toned down. Director Gavin Hood opts for something that feels more rustic, raw and primitive. The screen is filled with the breathtaking natural scenery of New Zealand and Australia, and action sequences involve something more ``classic,’’ such as a vintage Harley Davidson, heightened by the fact that even actors Hugh Jackman and Liev Schreiber chose to do some of the stunts themselves.

Jackman returns to the role of the hot-tempered Wolverine, equipped with indestructible claws and superhuman stamina. The movie takes us back to the mid 19th-century America, when he was just plain James Logan. His fate takes a sharp turn however when his mutant powers awaken and a family tragedy ensues; his brother, Victor Creed-cum-Sabretooth (Schreiber), also turns out to be ``special,’’ and the two run away together.

The two immortal young men fight through the major wars of the past two centuries until they are recruited by William Stryker to serve in a special unit of mutants. When their job involves taking innocent lives, however, Logan calls it quits, while Creed succumbs to his darker side.

Logan is leading a peaceful life in the Canadian Rockies until Stryker asks him to be part of his new Weapon X project. He refuses, but when Creed murders his loving girlfriend, Logan agrees to being injected with a formula called ``adamantium,’’ making him nearly indestructible, to seek his revenge. But when he discovers that his new body, Weapon X, would be merely a puppet controlled by Stryker, he runs away, and Stryker orders Agent Zero (Daniel Henney) to destroy him.

The local press preview last Wednesday for ``Wolverine’’ buzzed with reporters and critics trying to catch the American debut of Korean heartthrob Henney. He gives a memorable supporting role, complete with some neat action sequences, for a character that could easily have been played by a non-Asian actor.

In theaters Thursday. 107 minutes. 12 and over. Distributed by 20th Century Fox Korea.

Park Chan-wook's "Thirst" Is Riveting

Song Kang-ho, the uncle next door, sheds 10 kilos and turns uber sexy (no fangs!) and bares all (literally? figuratively? I'll leave it to your imagination). I salute, thee, maestro Park Chan-wook!

Park Chan-wook's ``Thirst'' traces the downfall of a Catholic priest who gets a transfusion of mysterious blood and turns into a vampire. Song Kang-ho, an award-winning actor who starred in ``Secret Sunshine,'' said at the movie's press preview Friday that he hopes the film wins the Palme d'Or at the upcoming Cannes Film Festival. /Courtesy of CJ Entertainment

Park Chan-wook’s latest work ``Thirst,’’ like other great movies, makes you forget you’re watching one, and you won’t be able to stop it from shaking up every cell in your body unless you dart for the exit. Park-brand films are undoubtedly an acquired taste, and this vampire-priest story, slated to compete in Cannes next month, is certainly not for those with weak stomachs. Nor is it, despite being replete with tasteful humor only Song Kang-ho (``Secret Sunshine’’) can pull off and being the first South Korean film to be co-produced by a major Hollywood studio, for those seeking light-hearted entertainment.

This reporter admits having had to close her eyes and plug her ears for some of the extreme scenes, but still had the ultimate audiovisual experience discovering ironic amusement and empathizing with the protagonist’s frenetic actions, disillusionment and despair, listless surrender and dissipation, and, finally, spiritual transformation.

In this story inspired by Emile Zola’s ``Therese Raquin,’’ Park creates a sinister parallel universe where 19th-century French realism and the Western vampire myth melt naturally into modern South Korea. Visually, things are familiar yet exotic, with local Catholic churches evoking a European flair; gaudy, outdated boutiques that are set in a Japanese colonial-era style home; and striking claustrophobic spaces a la Stanley Kubrick.

Regardless of one’s faith, the movie inspires you to look back to the Bible as well as literary classics on religious themes such as Graham Greene’s ``The Power and the Glory.’’

The movie most obviously alludes to the first three chapters of Genesis. Sang-hoon (Song) is a devout Catholic priest residing peacefully in the house of God, like Adam in the Garden of Eden. His only flaw is that he is overly zealous _ in the novel, which Park co-wrote with scriptwriter Jeong Seo-gyeong and novelist Choi In, we learn that Sang-hoon always had a dangerous propensity to sacrifice whatever means for salvation. Despite the behest of his father figure, Father Noh (Park In-hwan, ``The Quiet Family’’), Sang-hoon volunteers for a risky medical experiment in Africa that the Vatican has yet to approve. There, he contracts a virus _ most appropriately called Eve _ and dies, but a transfusion with mysterious blood returns him back to ``life’’ as a vampire.

When he comes home, news of Sang-hoon’s resurrection attracts a cult following of the desperate and the decrepit who are seeking miracles. But Sang-hoon eventually succumbs to his thirst for blood and other hitherto tamed human (or animalistic?) instincts, and begins a sexual relationship with his friend’s wife Tae-ju (starlet-turned-femme fatale Kim Ok-vin, ``Dasepo Naughty Girls’’). He casts off his vestigial collar and allows himself to be persuaded by Tae-ju to kill her impotent husband (most convincingly played by Shin Ha-kyun, a star of ``Sympathy for Mr. Vengeance’’).

But like the whiskey priest of the Greene novel, who discovers the true meaning of being a ``father’’ through breaking the rules _ i.e. fathering an actual child _ the wickedly talented Song as Sang-hoon suggests that light shines brightest in the depths of darkness, and that deliverance is not a lost cause for even the damned. The director explores the murky line between faith and obsession, love and lust, martyrdom and suicide, and blessings and curses.

The cast and crew, including the most talented supporting actors such as Kim Hae-sook (``Viva! Love’’) as the hysterical mother-in-law, craft the story with great gusto and virtuosity. In spite of the dark subject matter, you will be laughing throughout the movie, and might agree with Tae-ju and gasp ``how cute’’ upon seeing Sang-hoon sip blood like Cool-Aid in a bottle and check in a hand mirror afterward to see if his lips are free of the scarlet stuff. (Ma questionne a Monsieur Park about the ironic humor and he said) ``Isn't that life? It can't be just serious all the time,'' said Park after the press preview in Seoul, Friday.

Of course ``Thirst’’ is incomplete without Park’s trademark juxtaposition of serene classical music and harrowing moments of violence. The director reunites with composer Jo Yeong-wook, and opts for J.S. Bach’s ``Cantata No. 82’’ this time. Park, having grown up in a Catholic environment, said that ``Thirst’’ is close to his heart, with the protagonist modeled after his own ``pathetic’’ personality, and the evocative background melody transforms into a monologue as Sang-hoon plays it himself on the recorder.

In his last film three years ago, ``I’m a Cyborg but That’s OK,’’ Park tampered with the digital Thomas Viper for a bubbly, surreal romance, and many say ``Thirst’’ marks his return, via analogue film, to the darker themes of his landmark ``Vengeance Trilogy.’’ ``Thirst’’ does speak a common gory tongue similar to the latter works, and Park said he wanted to create a certain ambiance and texture only analogue could capture. But this tale of redemption is ultimately a human love story, like ``Cyborg,’’ and suggests that all of his movies are as such.

A small regret is that the movie does not go as far as the novel to feature more character development, such as Sang-hoon’s orphaned childhood and frantic search for a father figure, and the computer graphic effects, such as Sang-hoon and Tae-ju’s crazed Superman and Lois Lane moments, are rather awkward.

In theaters April 30. 133 minutes. 18 and over. Distributed by CJ Entertainment.

>>Read about the novel

>>Read about what director Park, Song and Kim had to say about the movie

`Girlfriend’ Prevails With Small, Tactful Jokes

Actress Kim Ha-neul stars as a National Intelligence Service (NIS) agent caught in a complicated romance with Kang Ji-hwan in Shin Tae-ra’s buoyant spy romance ``My Girlfriend Isn’t an Agent.’’ /Courtesy of Lotte Entertainment


Don’t be discouraged by the rather familiar plotline or the tacky English title. This reporter had been expecting the worst for what appeared to be a spin-off of ``Mr. and Mrs. Smith,’’ but Shin Tae-ra’s buoyant spy romance ``My Girlfriend Isn’t an Agent’’ is a promising asset to the South Korean romantic comedy genre.

It’s predictable and clichéd, but features some surprisingly good B-rate laughter, winning the audience with a series of small but tactile tickles rather than a big K.O. After dabbling with blood in the slasher film ``The Black House,’’ the director returns with something more digestible, while actors Kim Ha-neul and Kang Ji-hwan make their mark on the silver screen.

Following a few mediocre franchises, Kim reclaims her reputation as the romantic comedy queen in the tradition of her ``Too Beautiful to Lie,’’ while Kang’s charms, eclipsed by So Ji-sub’s charisma in his feature film debut ``Rough Cut,’’ shines through. While many homegrown romantic comedies make the mistake of switching genres _ Kim’s 2006 ``Almost Romance’’ drastically transformed from comedy into a tragedy _ ``Girlfriend’’ has a consistent tempo and flow in straddling slapstick, schmaltziness and speed.

Su-ji (Kim) is a National Intelligence Service (NIS) spy who poses as a travel agent. While she is adept with James Bond-style gadgets and pulling off Jackie Chan stunts in a wedding dress, she’s terrible when it comes to lying to her boyfriend Jae-jun (Kang). Tired of her cock-and-bull stories _ how she claims to be on one side of the country one minute and then on the opposite end the next _ he leaves her.

The movie portrays NIS agents as having very mortal flaws and problems. Our protagonist may strut around in a power suit on the job, but she’s also seen lounging around in thick glasses and sweats, crying over her broken heart. Her cozy house, like that of a typical young Korean woman, is decorated with cushions and stuffed animals stamped with pictures of her and her now ex-boyfriend.

The story resumes three years later when Jae-jun reappears as a high-profile accountant in a corporate bathroom where Su-jin is working undercover as a janitor. Old wounds reopen and emotions flare as they blame each other for the break-up. The two are, of course, still in love, but the fact that Jae-jun is actually a rookie agent of a different NIS branch complicates things.

In the ``Brangenlina’’ franchise, a husband and wife’s marriage problems escalate when their respective agencies, which happen to be rival companies, become involved with the same case. ``Girlfriend’’ is similar, and does some nice PR for the NIS by showing how different departments stick to the honor code in guarding their secrets from one another within the organization and even within the same department _ Su-jin and Jae-jun’s respective teams think the other is involved in a Russian spy case.

The beauty of the film lies in the details. In addition to the wickedly funny main cast, some of the most talented actors in the industry _ including Ryoo Seung-yong (``Hwang Jini’’) and Kang Shin-il (``Black House’’) _ play memorable supporting roles.

Now showing in theaters. 112 minutes. 12 and over. Distributed by Lotte Entertainment.

'Insadong' Can Go That Extra Mile

When it comes to replicas, modern Koreans may be familiar with fake Louis Vuitton handbags; the immaculate craftsmanship baffles even experts. But not many people realize that ``Mongyu Dowondo'' (Paradise in a Dream, 1447), displayed at the National Museum of Korea, is a mock-up. The original landmark painting of the Joseon Kingdom (1392-1910) remains in Japan.

For ``Insadong Scandal,'' first-time director Park Hee-gon may have been inspired by that tantalizing fact, which inevitably points to sensitive Korea-Japan relations, but he opts for something purely entertainment-driven rather than stoop to sappy ``nationalism marketing'' to tell the story of lost treasures and misdirected ambitions. Like George Clooney and others in the ``Ocean's'' franchise, popular actor Kim Rae-won (``Sunflower'') and a host of colorful characters bring a stylish and speedy crime story, which in this case is set against the exotic art hub of Seoul, Insa-dong.

It all came from a dream. Angyeon immortalized the reverie of prince Anpyeong in ``Mongyu Dowondo'' and captured his own fantasies in ``Byeokando.'' But the painting of the Changdeok Palace pond disappeared along with the crown prince, who was overthrown and killed by his brother-cum-king, and its existence became known only 60 years ago through a Joseon artist's written account.

``Insadong'' imagines what would happen if the painting resurfaced after 400 years of Holy Grail-like existence. The minimum auction-bidding price is 40 billion won, and naturally, notorious art mogul Bae Tae-jin grabs at the lucrative opportunity. Sex symbol Uhm Jung-hwa (``Love Now'') plays the part of a young Cruella De Vil who unabashedly lobbies politicians and engages in illicit art exchanges to fund her fancies. ``Byeokando'' would enable her to conquer Insa-dong once and for all, but first she must find someone to restore the tattered painting ― the one and only genius restorer Lee Gang-jun (Kim).

A few years back, Lee had proved his devilish talents with the paintbrush in restoring a priceless Joseon treasure, but his career perished as soon as it bloomed when he was framed for its disappearance. Bae beckons Lee back to the art scene with ``Byeokando,'' waving 1 billion won for the year-long project. Lee accepts, though he asks for a fancy sports car as a bonus, and settles comfortably in the state-of-the-art restoration lab situated in Bae's gallery. Meanwhile, Bae puts on a show for the press about donating the priceless work to the state while scheming with a Japanese buyer, but Lee has some elaborate plans of his own.

The movie is fast-paced and visually enticing throughout, but it doesn't completely lure the viewer until the latter half. In the beginning, it's more about style than substance. The very talented Kim had hitherto touched hearts with dramatic roles, but keeps cool in ``Insadong'' as the charming antiheroic hero that is aloof yet way too suave. Of course, such is what one expects in entertainment, the protagonist is not only very young and good-looking but also possesses a sharp tongue and encyclopedic knowledge to match his magic fingers.

Uhm's sex appeal is unquestionable but her screen persona doesn't melt into the frame as Kim Hye-soo did in ``Tazza: The High Rollers.'' She's ravishing in her form-fitting, structured outfits, which naturally include cleavage-baring keyhole evening gowns, but her kabuki makeup often seems out of place as she tries to mingle with politicians. She's stomping over men in her killer stilettos, but the film, quite commendably, refrains from making her a stereotypical femme fatale; while some may be disappointed by the lack of romantic chemistry between Bae and Lee, it is refreshing to see a heroine whose edgy fashion defines her ambitions rather than sexuality.

Things pick up nicely in the latter half with idiosyncratic supporting characters like Ko Chang-seok (``Rough Cut'') spicing up the intrigue and exploring the fine line between restoration and replication, and artistry and finely crafted con artistry.

The director said he didn't explain characters' history because he wanted to capture the relevance of Insa-dong. However, the film could have relied more on editing to introduce the past as ``Ocean's 11'' did, also propelled by characters that feed directly into the narrative ― the movie is, ultimately, about items from a bygone era and truncating the characters' attachment with them distances the viewer from the story.

Yang’s `Breathless’ Is Breathtaking

Yang Ik-june directs, produces and plays the lead role in his feature film debut, ``Breathless.’’ The multiple award-winning family drama opens in theaters April 16. /Courtesy of Jin Jin Pictures

In an obscure alleyway at night, a man ruthlessly beats a woman. A shadowy figure emerges and intercepts the violent lover’s quarrel, but only to slap the victim repeatedly himself, reprimanding her for getting hit by her man.

Is he a hero or villain? It’s difficult to say. ``Breathless’’ explores the murky gray zone between compassion and cruelty, redemption and revenge, and the blessings and curses of family bonds. In a nutshell, it’s a family drama that’s inappropriate for children. While harrowingly violent, however, the multiple-award winning film by director-lead actor-producer Yang Ik-june seethes with warmth and humor.

The film is making headlines for entering almost 20 international film events and picking up top prizes, including, most recently, the SIGNIS Prize and the Audience Award, Wednesday, at the Buenos Aires International Independent Film Festival. And the movie does not disappoint, and establishes Yang as a name to watch out for.

``Breathless’’ has captured the hearts of French audiences at Deauville _ even though they are more than familiar with the Jean-Luc Godard masterpiece of the same title (``A Bout de Souffle’’ in French). It features over two hours of the discomforting subject matter of domestic violence against a rundown neighborhood of Seoul, but the movie glimmers with life. One is drawn to the protagonist, Sang-hoon, whom Yang plays compellingly as the most endearing antihero since Kang Cheol-jung of the ``Public Enemy’’ series.

Sang-hoon is someone you don’t want to run into on the street. Wearing a frown and an old-fashioned collar shirt with a pair of Nike sneakers, he’s prone to mindless fits of violence, punching a passerby if he feels like it. He leads a dreary existence working for an enforcement mob run by an old friend, Man-sik (Joung Maan-sik). When he makes money he pours it away at a pachinko parlor. He’s probably the only Korean still using a beeper rather than a cell phone.

But just when the jerky, handheld camera establishes him as a despicable thug, you see him looking after his young nephew, though he is careful not to get too close with his half sister, and making sure he steers clear of young children when beating people up. His irate temper turns highly volatile at the sole mention of his father, and we learn that Sang-hoon is a victim of a violent family tragedy that took the life of his mother and sister. ``So, does serving 17 years undo the fact that he killed two people?’’ he asks, enraged with his father.

But the darkest hours always yield to light, and Yeon-hee enters his life like a ray of sunshine. Actress Kim Kkobbi plays the role of the cheeky high school student who doesn’t even wince at Sang-hoon’s intimidations. The big bad thug is fascinated by the little sharp-tongued girl who goes as far as treating him like her junior, saying ``So I’m a senior. Have you even been to school?’’ He’s at a loss for words.

Yeon-hee says that her family life is so peaceful that she needs to be diverted by a lowlife thug. But in reality, they are kindred spirits, as her tough demeanor was crafted over the years of dealing with her violent, mentally disturbed father and rebellious younger brother. Her mother lost her life in a skirmish with thugs, but she finds solace in the presence of such people in a vicious cycle.

The film depicts the human repulsion against violence but also the disturbing yet cathartic emotional release from submitting to it, and thus the human propensity toward it. But it ultimately traces the human need for hope and redemption.

As Yeon-hee starts warming up his stark existence, Sang-hoon slowly begins to emerge from the dark side. The two unlikely friends find a niche of happiness in babying Sang-hoon’s little nephew. Sang-hoo, however, has committed sins for which there is a heavy price to pay.

In theaters April 16. 130 minutes. 18 and over. Distributed by Jin Jin Pictures.

`Private Eye’ Signals New Detective Genre

"Private Eye" (그림자 살인 Geurimja Sarin)
Directed by Park Dae-min (박대민)
Starring Hwang Jung-min (황정민), Ryu Duk-hwan (류덕환)

Debutant director Park Dae-min brings a delicious mix of drama, comedy and adventure in ``Private Eye,’’ which, moreover, paints rosy prospects for South Korean cinema as it signals the potential of homegrown detective films.

Set against the Japanese colonial period (1910-45), the movie invites viewers to hop on coolie-drawn carts and join an accidental Sherlock Holmes (Hwang Jung-min) in tracking down a serial killer on the loose.

If 2007’s ``Shadows in the Palace’’ hinted at the possibility for an Agatha Christie-style suspense, ``Private Eye’’ promises something more solid, and perhaps even a serial franchise. It keeps things smart and intriguing rather than mind boggling or cryptic, and leads the audience half a step ahead in the cat and mouse game. The movie also manages to be entertaining without being too light as it gives birth to a detective with character.

Hwang plays Hong Jin-ho, one of those amiable rude people, whose successful survival is more a factor of luck than skill. He’s nevertheless a detective who is well equipped for the job, with his sixth sense for investigation _ but he keeps far away from dangerous cases that might spoil his hand-pressed suit and white hat. Instead, he pockets money by catching cheating housewives and other small matters that decorate tabloids _ in order to manifest the great American Dream in a country with a larger population and thus more adulterers and more income.

The ``Happiness’’ star brings yet another unforgettable character, and the film actually allows the actor’s immense talents to fully sparkle _ as if to make up for how ``A Man Who Was Superman’s’’ narrative flaws eclipsed the endearing persona Hwang pulled off, and how the suspense factor got lost in the gooey gore of ``Black House.’’

Rising actor Ryu Deok-hwan (``Our Town’’) melts into his role, somewhat reminding you of a young Park Hae-il, as Jin-ho’s unlikely sidekick Gwang-soo. The enthusiastic medical intern finds an abandoned corpse in the woods that would be perfect for dissecting, but his lucky day turns into a nightmare when the dead man turns out to be the missing son of a powerful politician.

Afraid of being accused of murder, Gwang-soo seeks the help of Jin-ho. Our dandy personal investigator refuses, naturally, but is eventually won over by the hefty cash reward. The two are forced to team up and solve the puzzle with a couple of clues found at the murder site, a small pack of white powder and a mysterious Japanese ``karakuri’’ doll.

As the two explore odd corners of old Seoul, the viewer is taken from secret drug rings to exotic Joseon-era circus shows during a time when slaves cost less than cattle. The artist of last year’s hit ``The Good, the Bad, the Weird’’ provides exquisite period details.

Despite their initial bickering, intuitive Jin-ho and brainy Gwang-soo become a productive pair. Meanwhile, Um Ji-won makes a small but memorable appearance as Sun-deok, a quiet noblewoman by day and quirky inventor by night who provides C.S.I.-worthy tips and nifty gadgets for the case.

Shortly thereafter, another important social figure is killed and discarded in the same manner. Here, the movie lets the viewer know whodunit, and the task at hand is to figure out the tantalizing why bit. The police, led by ambitious social climber Young-dal (played by yet another talented actor, Oh Dal-su), are eager to close the case by framing an innocent man. Jin-ho and Gwang-soo, however, discover crucial evidence that leads to astonishing secrets.

English subtitles will be available at CINUS Myeongdong and Gangnam. The movie will be released nationwide April 2. 15 and over. Distributed by CJ Entertainment.

Korean Films to Return, Compete in April

South Korean cinema offers only a handful of releases this month, but a big lineup of homegrown films awaits moviegoers in April.

Some 10 domestic titles are slated for release next month, of which a majority are mainstream franchises that will play in theaters nationwide.

Leading the pack is ``Private Eye (그림자 살인),’’ coming to screens April 2, starring Hwang Jung-min as a private detective and Ryu Deok-hwan as a young medical trainee who try to solve a serial murder case during the Japanese colonial era (1910-45). A special preview of the film with English subtitles is taking place at 7 p.m. tonight at CINUS Myeongdong Theater. The subtitled film will be available on the official release date at the venue, as well as CINUS Gangnam.

"Urijibe Wae Watni"
(Why Did You Come to My House; 우리집에 왜 왔니)

A week later, Gang Hye-jung, the charming heroine of ``Welcome to Dongmakgol,’’ will return to the big screen opposite Park Heui-soon (``Seven Days’’) in ``Urijibe Wae Watni (Why Did You Come to My House?),” a quirky tale about a bizarre young woman who interrupts the suicide attempt of a frustrated man.

``Breathless (똥파리),’’ which recently made headlines by winning a series of awards at European festivals, will be released April 16. It’s expected to continue the renaissance of independent cinema here, following the hit movie ``Old Partner.’’

On April 23, Kim Ha-neul and Kang Ji-hwan will star as secret agents tangled up in a comical love affair in ``My Girlfriend Isn’t an Agent’’ (working title; 7급 공무원).

"Thirst" (박쥐)

April 30 will have a big showdown for Korean films, with the simultaneous release of celebrated director Park Chan-wook’s provocative vampire story ``Thirst,’’ starring award-winning actor Song Kang-ho and starlet Kim Ok-vin; ``Insadong Scandal’’ (working title), a conspiracy story involving the local art scene with heartthrob Kim Rae-won and sex symbol Uhm Jung-hwa; and ``Gimssipyoryugi (Adventures of Mr. Kim; 김씨표류기),’’ a comedy in which an unlikely pair, Chung Yeo-won and Jung Jae-young, end up stranded on a desert island.

All three franchises feature big stars and unique storylines and are backed by some of the country’s major producers and distributors. Several other indie flicks also await release in select theaters.

The mass release of Korean films in April can be seen as a result of avoiding the months of March, which is usually a slack time for cinema, and May and June, when Hollywood blockbusters start rolling in.

"Insadong Scandal (인사동 스캔들)" (working title)

But the high competition, with additional rivalry from highly anticipated foreign films due in April, is not always in the best interest of local ticket sales, according to some film marketers. In February, three homegrown thrillers, ``Marine Boy,’’ ``The Scam (작전)’’ and ``Handphone’’ were released at one-week intervals, and while each received positive feedback, ticket sales were split among the three and none marked a big hit.

``The lineup of foreign films waiting to be shown in April is pretty tough, and it’s a big worry that all these Korean movies will be released around the same time,’’ said one marketer for a domestic film awaiting release next month.

Binoche’s `Summer Hours’ Seethes With Natural Beauty

C'est La Binoche! She is so glamorous! I had the great pleasure of seeing this immensely talented actress-turned-dancer on her first visit to Korea :) I'll be watching her perform with Akram Khan on Friday!

"Summer Hours (L'Heure d'ete)" /Guan

``Summer Hours’’ has ``La Binoche’’ written all over it: the celebrated French actress of many talents brings a small family movie that enables the viewer to instantly connect with the effervescent characters and feel part of the family as it deals with the passage of time.

In the film, director Olivier Assayas (``Paris, Je t’aime’’) captures all things natural, beautiful and nostalgic _ a room warmed by the late afternoon sunbeam just before dusk, a vase of fresh summer flowers bound to wither and fade, berry-picking with one’s grandmother but outliving her all too soon. Of course, those tender moments are fleeting, and life goes on, making way for new memories. Like Im Kwon-taek’s ``Chukje,’’ ``Summer Hours’’ deals with death in the family as a celebration of life.

Juliette Binoche speaks to the press Wednesday during her first visit to South Korea. /Yonhap

``This is a small budget film that we shot very quickly, and I had the pleasure of working with the magnificent actress Edith Scob. I’ve already worked with Olivier Assayas on `Rendez-Vous’ and we shot the movie in a joyous, family-like atmosphere,’’ Binoche told reporters Wednesday following the film’s press preview in a Seoul theater during her first visit to Korea.

Elegant actress Edith Scob plays Helene, who has dedicated her entire life to the posterity of the artworks by her beloved uncle Paul Berthier. Shortly after her 75th birthday, she passes away suddenly, leaving behind the house a collection of art, antique furniture and fine objects. Her eldest child, Frederic (``L’Ennui’’ star Charles Berling), insists on preserving his mother’s legacy. However, this is not in the best interest for his siblings Adrienne (Binoche), a designer based in New York, or Jeremie (Jeremie Renier, ``Atonement’’), who is in need of money for moving to China.

The film is a visual delight: In addition to the lush provincial gardens, viewers can indulge in the colorful panels by Jean-Baptiste Camille Corot, a broken figurine by Edgar Degas (a childhood accident), beautiful antiques by Louis Majorelle, unique vases by Felix Bracquemond and luxurious silverware by George Jensen.

As some of the household treasures become still life exhibits at a museum, one may be reminded that such seemingly lifeless items may have once held secret diaries, fresh flowers and fond memories (Binoche herself had an uncle on her father’s side of the family that donated items to the Louvre). Another treat for art buffs is the sneak peak into the fabulous storage space and restoration lab of the Musee d’Orsay. In celebration of its 20th anniversary in 2007, the Paris museum provided generous support for the movie.

In theaters March 26. 100 minutes. All ages admitted. In French with Korean subtitles. Distributed by Guan.

>>Read more about the Juliette Binoche Retrospective in Seoul and more quotes from the fabulous actress.

`Comfort Woman’ Film Touches Japan

Ahn Hae-ryong’s ``My Heart Is Not Broken Yet’’ documents Song Sin-do, center, the only World War II sex slave to ``come out’’ in Japan, and her Japanese supporters’ decade-long efforts to sue the Japanese government. /Courtesy of Indiestory

If Erin Brockovich’s cleavage helped her defense, then Grandma Song Sin-do’s unbreakable heart keeps her fighting her case. Currently playing in theaters is Ahn Hae-ryong’s ``My Heart Is Not Broken Yet,’’ which documents this ``unconventional’’ World War II victim who has become something of a star in Japan while filing a lawsuit against the Japanese government.

Only recently have surviving ``comfort women,’’ who were forced into sexual slavery in Japanese military brothels during war, dared to speak of their past. In 1991, Kim Hak-soon was the first to give a public testimony in Korea and two years later, Song became the first in Japan.

The local media often portrays a group of fragile, teary-eyed grandmothers and supporters demonstrating vehemently in front of the Japanese embassy in Seoul _ but in Song’s instance, it was a group of Japanese civilians who persuaded her to file a case against the Japanese government and demand a formal apology. And unlike other war victim, this ``hard as nails’’ 77-year-old exhibits ``rage and humor unbefitting a sufferer,’’ according to an Asahi Shimbun reporter in the film.

Inspired by Song, some 670 Japanese individuals funded the documentary. Song’s sharp tongue makes ``My Heart’’ humorous as much as it is moving, and moreover, inspirational to see how an individual can transcend personal struggles. Rather than lamenting over seven years of sexual slavery she condemns the inclusive horrors of war itself, arguing that Japanese soldiers and sex slaves were all victims. The film moves away from the anti-Japan sentiment that is usually associated with the issue here, and she even welcomes veteran soldiers as valuable witnesses for her case.

Moreover, the film documents her personal transformation. In spite of her charisma and wit, the past had made her deeply untrusting of people and the difficulties of living as a foreigner in Japan had deprived her of the sense of belonging. Through her journey, she learns to open her heart to strangers and reconnect with her homeland.

The movie is currently showing in various venues in Japan since it was first released in August 2007. Song has been touring the nation to tell her story, particularly to high school students. ``It is necessary that many Japanese people be informed of (comfort women) and the movie must be seen in order to spread the knowledge,’’ a teenage girl was quoted as saying after watching the movie, according to the film’s domestic distributor.

Born in 1922 in South Chungcheong Province, Song was coerced into sexual slavery at military brothels in China at the tender age of 16. Over seven nightmarish years, she was impregnated numerous times, and had to give away two of her surviving babies to local families. All that remain with her are a tattoo of her slave name ``Ganeko,’’ a damaged left ear and several deep scars from beatings. >>More

Actress Moon So-ri provides the narration. Also featured is music by Korean-Japanese musician Pak Poe, who is known as the Bob Dylan of Japan. A portion of the profit from ticket sales will be used to fund the establishment of the War and Women’s Human Rights Museum in Korea (http://www.whrmuseum.com/).

Read about ``Chinese Pink," another unconventional account on WWII sex slavery.

`Dragonball’ Premiere Tops Korean Box Office

Photo courtesy of 20th Century Fox Korea

``Dragonball: Evolution,’’ the Hollywood adaptation of the internationally loved comic, topped the South Korean box office during its opening weekend after its world premiere here March 12, according to 20th Century Fox Korea.

Real-time tallies of nationwide ticket reservations by the Korean Film Council showed Sunday that the action flick held an iron grip on the number one spot over ``More Than Blue’’ -- despite the tendency of romantic films to dominate on White Day weekends.

The Stephen Chow production, directed by James Wong, catered particularly to young males in their teens and 20s, who, like millions of fans worldwide, grew up consuming the comic and/or cartoons. But the film’s classic teen romance-meets-martial arts superhero theme appeals to ``children’’ of all ages, which naturally includes adults. Also inviting is its weighty cast of fresh newcomers and veteran stars, including Hong Kong action hero Chow Yun-fat, former K-pop star Joon Park (Park Joon-hyung) and esteemed Korean-American actor Randall Duk Kim.

Running an hour and a half, ``Dragonball’’ features everything one might expect in a Hollywood hero movie, including scores of computer graphic action, earth-wind-fire magic a la ``Crouching Tiger, Hidden Dragon,’’ ``Transformers’’-style gadgets and even ``D-War’’ dragons. Despite the Eastern thematic elements and a cast that is heavily dominated by Asians and Asian-Americans, the film is succeeds in having mainstream appeal -- without starring Jackie Chan or having Tom Cruise play a samurai.

The costume and makeup, however, are rather regrettable, as Lord Piccolo looks more like one of Sponge Bob’s alien friends rather than a scary villain. One might also wonder if the movie hired Edna from ``The Incredibles,’’ as Goku’s martial arts outfit, one of his grandfather’s legacies, seems to stretch miles without ripping. But then again, the film is based on a cartoon.

>>Read more about the plotline here
>>Read about the "Dragonball: Evolution" Premiere event in Seoul

`More Than Blue' Is Poetic, Luminous

"More Than Blue"
Directed by Lee Won-tae
Starring Kwon Sang-woo, Lee Bo-young, Lee Bum-soo

슬픔보다 더 슬픈 이야기
(솔지히 그렇게 슬프진 않다. 하지만 매우 유치했을 내용을 재미있고 아름답게 그린 시인 이원태의 노력이 빛난다. 그리고 이범수가 나오는데 어찌 아니 볼 수 있는가??)

Romanic poet Lee Won-tae makes his directorial debut with a classic romance, ``More Than Blue.’’ Though featuring typical elements of the South Korean melodrama, ``Blue’’ does not attempt to squeeze out tears from viewers. Rather, the director crafts a film that is poetically sparse, and also witty and hilarious as much as it is heartbreaking.

Hallyu star Kwon Sang-woo, the heartbreaker from the tearjerker TV soap ``Stairway to Heaven,’’ plays the tragic male protagonist ``K,’’ yet another faithful one-woman man involved in a pitiful love triangle. To top it all off, he has cancer. With the little time he has left to live, he plays Cupid to marry off the woman he loves, ``Cream’’ (Lee Bo-young), to an eligible bachelor, Ju-hwan (Lee Bum-soo), so he can rest in peace.

``Blue’’ however feels more classic than clichéd and the undying fidelity of the love-struck characters nostalgically evokes old romances. The talented actors also bring freshness to their parts, making them very believable and worthy of every ounce of one’s empathy.

The story begins in high school. Cream appears before K out of the blue, hypnotizing him in a fashion reminiscent of Gwenyth Paltrow’s over-the-water fountain-kiss in ``The Great Expectations.’’ (One drawback is that the 32-year-old’s posing as a high school student, despite his flawless skin, is rather awkward, particularly since many moviegoers may remember the exquisite rendition of a teenaged Brad Pitt in ``The Curious Case of Benjamin Button’’).

>>More plotline

One of the movie’s strengths is that it contextualizes the dramatic romance within a convincing reality, and in addition to having the women wear the pants (the director told The Korea Times that it’s because he himself is a ``doting husband’’), funnyman Lee Han-wie keeps things light as a kowtowing celebrity manager. Singer Lee Seung-chul also makes a memorable appearance, particularly as he tries to sport an unctuous, post-Captain Jack Sparrow-Johnny Depp-look.

As expected of a movie by a poet, it teems with imagery of time hanging still in the air and things are left simple. Even though the film’s Korean title ``A Story Sadder Than Sadness’’ is perhaps an overstatement, it allows the viewer to peruse not so much the abstract meaning of love but what it means to be in love and to care for someone.

In theaters March 11. 105 minutes. 15 and over. Distributed by Showbox/Mediaplex.

`Oishii Man’: Magic of Love, Youth

Franz Kafka once said that ``literature must be the axe for the frozen sea within us,’’ and good movies, like books and other works of art, sometimes have such inspirational power. ``Oishii Man’’ is yet another small jewel of a film by Kim Jeong-jung, and despite its prevalent imagery of the frozen sea, the youthful romance seethes with warmth.

Perhaps love and youth compliment each other like no other pair can. Kim broke hearts with ``HERs,’’ set in snow-covered Alaskan plains. This time, the director takes viewers to the ice floes of northern Japan. In ``Oishii Man,’’ two young starlets _ South Korean model-turned-actor Lee Min-ki and Japanese heroine Chizuru Ikewaki _ make music and magic.

The movie is about two strangers who mend each other's broken souls, and an unforgettable winter romance blooms. Ice would be the last thing one would expect to melt frozen hearts. Likewise, the movie's magical aura manifests itself in the portrayal of ice fairies, or ``kurione,'' fantastic aquatic creatures shaped like small white angels that live only in the iciest seas.

>>Click here to read more about the plot.

The movie invites comparisons to the international hit ``Once.’’ Like the song-ridden Irish love story, sometimes love between two people is consummated in not being consummated, at least in the conventional sense of ``happily-ever-after’’ endings.

While ``Oishii Man’’ is also about music, the soundtrack is strictly limited, unlike ``Once,’’ where the music dominates the narrative.

The poeticism of the movie lies in the silence between the notes. ``Oishii Man’’ is indeed ``oishi.’’ The tasteful film tugs at the heartstrings without being the least bit sappy, and does not get too heavy, with lots of comic relief.

Now playing in theaters. 12 and over. 96 minutes. Distributed by Sponge. In a mixture of Korean, Japanese (with Korean subtitles) and broken English.

'Hand Phone' Showcases Top Talent

Actors Park Yong-woo, left, and Eum Tae-woong star in the thriller ``Hand Phone.’’ Coming to theaters Feb. 19, the noir thriller shows how personal information in a lost cell phone can be used in all the wrong ways. /Courtesy of SK Telecom

``Paradise Murdered’’ director Kim Han-min brings yet another unconventional thriller, ``Hand Phone.’’ But unlike his previous work, the setting shifts from an isolated island to the big city and, like its title suggests, revolves around every urbanite’s essential hardware, the cell phone

The cell phone, which South Koreans commonly call ``hand phone’’ and thus the title of the film, has appeared without fail in recent thrillers such as ``Seven Days.’’ ``Hand Phone’’ also has the victim running around as the perpetrator whispers orders from the other line. It capitalizes on the familiar anxiety of looking for a charger when the battery starts dying out on an important conversation. It also shows the perils of losing one’s personal information held by cell phones.

The beauty of the film lies in its haunting revelation of the grotesque in things mundane and the unleashing of the latent beast within individuals, including the most docile, under-pressing or unexpected situations. The movie is all about character development, and Park Yong-woo’s (``Once Upon a Time in Corea’’) skin-crawling yet sympathy-provoking performance is the reason for watching the film. >>More

Indie Movie Conquers Loca Cinema 2

``Daytime Drinking,'' a mini-budget road movie, is creating hype even before its release.

``Daytime Drinking'' debuted at the 9th Jeonju International Film Festival and went on to win awards at several overseas events, including Locarno last year. A triumph of creativity over pitifully meager resources, the movie is receiving as much media spotlight as anticipated blockbusters. It is a breath of fresh air for Korean cinema, which has seen the failure of many expensive, star-studded ventures.

I met with director Noh Young-seok to laugh about his ticklishly funny road movie. He was such nice guy, who resembles his protagonist :)

``Daytime Drinking'' shows that drinking in the middle of the day will most likely lead to trouble. For the heterosexual male, a pretty woman, even if she has sinister intentions, will be another temptation that's hard to resist.

It all began with a drink. Hearbroken Hyeok-jin has a round of soju with his friends. They suggest a trip to Jeongseon, a popular destination in Gangwon Province. The next morning, however, his friends are hung over and Hyeok-jin is the only one that shows up. But he isn't out of luck, as a pretty young woman, also traveling solo, approaches him.

But seaside in the winter turns out to be far from romantic. Hyeok-jin ends up wearing only his underwear in the middle of the highway, and if that didn't seem bad enough he meets more strangers whose first impressions turn out to be rather deceiving after some booze.

The 32-year-old director was inspired to write the script during his own stay at a boarding house in Jeongseon. ``It was wintertime and I was lonely. Soju was my only companion and I wondered what would happen if a pretty woman who's also traveling alone stayed next door,'' Noh Young-seok told The Korea Times.

``I made the film with friends as if we were having fun on a trip,'' he said. Shot digitally in 13 days with just 10 million won ($10,000), ``Daytime Drinking'' nevertheless made it to international events alongside last year's blockbuster ``The Good, the Bad, the Weird.'' It also inspired curiosity about soju among foreign viewers.Critics praised the movie as ``proof that a good script and simpatico direction and performances can overcome budgetary restrictions'' (Variety magazine). The central theme of daytime drinking originated from trying to save money, so as not to worry about lighting at night.

After failing one movie script competition after another, Noh decided to make a movie on his own with friends he met at a local film academy. ``It was a matter of survival, and I was focused on just finishing the movie,'' he said. The director did everything from the writing and shooting to editing, as well as playing a cameo as the restaurant owner. The original film score comes from an old album Noh made when he tried, and failed, to become a professional musician.

``Cinema is the best form of self-expression, for now,'' he said. ``I just hope the audience can enjoy `Daytime Drinking' lightheartedly, without the prejudice that indie flicks are serious and experimental.

``Independent films need to become diverse, with their own set of genres ranging from horror to dramas and thrillers,'' he continued. He does not have concrete plans about his next piece, though he wants to continue making small budget digital films with commercial appeal.

``I hope viewers will be inspired to go have a round of drinks with friends,'' he said. ``Daytime Drinking'' is now showing in theaters. 115 minutes. 15 and over. Distributed by Jin Jin.

Indie Movie Conquers Loca Cinema

``Old Partner,'' a small documentary, rewrote box office history for independent cinema.

The first South Korean documentary to compete at the prestigious Sundance Film Festival, ``Old Partner'' has drawn in over 100,000 viewers since its release Jan. 15. The number may seem small when compared to box office scores of local blockbusters, but it is the largest ever tally for an independent movie and is doubly significant considering that documentaries are a minority within the minor genre.

Man's Best Friend, Cow

The Year of the Ox has so far been a lucky one for Lee. ``Selling over 100,000 tickets isn't all that great,'' said the ``Old Parnter'' director, jokingly complaining about non-stop press meetings in an interview with The Korea Times. ``I also hope the Hanwoo (hanwu) Association doesn't send me a written protest,'' said Lee about unintentionally dissuading some viewers from consuming hanwu. The 42-year-old himself does not eat beef.

In Korea, which was traditionally an agricultural society, cows were the most helpful farmhands. After a lifetime of servitude, it gave off itself for a rare feast, and Koreans ate everything from head to tail, with gratitude.

``Today, cows are just thought of as beef. I wanted to show it could be more than that,'' he said. After searching for subjects, the director found a miraculous 40-year-old cow in North Gyeongsang Province ― cows usually live for only 15 years.

The documentary traces an old man's inseparable relationship with his old cow. Unlike his neighbors, Choi Won-gyun, 80, refuses to live in tune with modern times. Despite his bad leg, he stubbornly works with his cow instead of a tractor. The cow also helps him gather firewood for their ondol (traditional floor heating system) and safely drives him downtown through traffic.

To the great chagrin of his wife, Choi refuses to spray insecticide since it is harmful for the cow, and insists on giving the cow homemade feed. The film is spiced with humor as it portrays dynamics between the typical nagging wife and the taciturn husband. ``There is also a sort of love triangle between the old man, his wife and his beloved cow, which is female,'' said the director.

But old age and death go hand in hand, and the cow has only one year left to live. The camera captures spring, summer, fall and winter in the countryside, and the constant ringing of ``weonang'' (cowbell, the film's Korean title) and the whisperings of nature's creatures make up the soundtrack. The film leaves a lasting sting in the heart as viewers are left on their own to graze upon life, friendship and death.

``Old Partner'' steers away from convention, and does without a sappy film score, narrator or interviews. Nor does it strive to uncover a truth with a cold eye. Rather, it documents a sentiment and fully incorporates the director's intentions ― ``It's like breaking down facts, like pieces of a jar, and piecing them back together in my own way,'' explained Lee. ``The documentary is in chronological order, of course, but I edited it in a way so that there would be a balance of heavy drama and comic relief,'' he said.

``Not all documentaries need to be serious and critical of current events. The documentary genre needs to become diverse, and it's meaningless if it cannot communicate with viewers,'' he said. Lee, in fact, was unable to utilize the advantages of the genre: Choi didn't want the production to interfere with everyday life, and so the director was unable to film interviews.

There were also budget problems. ``Old Partner'' took over three years to make, and even though using the digital medium saved money, Lee had to take a part time job. He sometimes needed to double as the director of photography, and because he had to commute, he missed a couple of incidents he would have liked to insert in the movie.

``Editing the film served as a time for self-examination. I wondered if we truly understand what's best for our parents,'' said Lee, whose own parents also live in the countryside. The movie features a traditional visit by Choi's grown children on Chuseok (Thanksgiving). Oblivious of their father's friendship with his cow, they tell him to sell her, since keeping her would only encourage him to toil in the fields.

``The film is about an incredible story of a man and his cow, but I hope it will enable all of us to think about our parents,'' he said. Another concern for Lee is that the film's popularity directed the media spotlight to Choi, who has just started recovering from his old partner's death. ``Please leave them alone,'' he said.

English subtitles are now available for ``Old Partner'' at Indiespace, located within Spongehouse Myeongdong (aka. Joongang Cinema), near Eulijiro 3-ga Station on subway lines 3 and 4. All ages are admitted. 78 minutes.

'Kitchen' Offers Tasteful Romance

Synn Min-a, Ju Ji-hun and Kim Tae-woo in "The Naked Kitchen"

The title says it all: ``The Naked Kitchen.'' Newcomer Hong Ji-young brings a sensuous romance that paints the taste of juicy meals and unforgettable kisses.

After competing at a few international short film festivals with ``Herstory,'' Hong makes her feature film debut both here and abroad through the Berlin International Film Festival, which continues through Feb. 15. The movie's nationwide release in Japan is slated for June.

For local moviegoers, ``Kitchen'' will be a delightful trend-spotting, trend-setting franchise. It capitalizes on the national obsession with fine dining, particularly the recent interest in food styling and things fusion. Martha Stewart can feast her eyes with brunch dished up on Hermes china and Korean court cuisine served in a Western-style multiple-course meal.

Other scenes are like fashion magazine spreads, as the cellophane-thin lead actress Synn Min-a (Shin Mina) struts around trendy neighborhoods in her candy-colored shoes. But the emerging director displays a sense for both style and substance as she delves the meaning of love and infidelity. The movie is a fine asset to the Korean chick flick genre as it sugarcoats the sensitive subject matter with scrumptious dishes, summer sunshine and colorful parasols.

``Kitchen'' can be compared to Gina Kim's ``Never Forever,'' as both show that first loves, or one great love, does not necessarily last forever. The movie also suggests it is possible to love two people at the same time, quite like Chong Yun-su's ``My Wife Got Married.'' >>More

`Scam’ Is Smart Investment

From left, actors Kim Min-jung, Park Yong-ha, Park Heui-soon and Kim Moo-yeol star as con artists in South Korea's first stock market movie ``The Scam,'' which will come to theaters Feb. 12. /Courtesy of Showbox/Mediaplex

The box office can be as difficult to predict as the stock market, and South Korean cinema in particularly is suffering amid the global financial crisis. ``The Scam,’’ the country’s first stock market movie, will undoubtedly prove to be a smart investment. Unlike its scamming characters, newcomer director Lee Ho-jae invests the right way, with a solid, ``inflation-free’’ script and the magic chemistry of a talented cast.

The crime drama draws in viewers without becoming too technical, as it is more about the human desire for wealth than financial matters. Losing tens of millions of won in the stock market can be only a click away on the Internet. ``Click,’’ and hopeless debtors head to the Han River.

Hallyu star Park Yong-ha (SBS’s ``On Air’’) sheds his sleek image to play Hyeon-su, a victim of such a fatal click. After losing everything, he spends five years glued to the computer screen as an unshaven, full-time ``ant’’ (individual investor). He eventually reaches the top of the game after a painful diet of instant noodles and sacrificing the cost of three luxury sedans. He vows to quit once and for all when he achieves his goal, a nine-digit savings account that will support his mother and studious younger brother.

One day he hits the jackpot, not knowing that there are repercussions to disrupting a stock market scam. He ignites the fury of Hwang, a gangster-turned-financier bidding for entry into the top percentile of the rich and powerful. Park Heui-soon (``Seven Days’’) brings another fresh mobster persona, who feigns elegance in his initialized Italian shoes, only to resort to kicking people for dramatic effect. He also begins every sentence with an ``OK’’ even though he cannot tolerate the full English phrasings of his Korean-American partner.

Hwang, however, doesn’t dwell on past indiscretions. He recognizes Hyeon-su’s talents and employs him for the biggest scam yet, also giving him a nice makeover. Hyeon-su joins the other members of Hwang’s dream team for the 60 billion won heist: Min-hyeong, an elite stock broker who doubles as the think tank of fraudulent trades (musical star Kim Moo-yeol makes his big screen debut); sexy private banker Seo-yeon (Kim Min-jung of MBC’s ``New Heart’’); Park, a second-generation chaebol CEO facing a management crisis (veteran supporting actor Jo Duk-hyun); and Bryan (Jun Kim, ``West 32nd’’), a Korean-American fund manager who fakes foreign investment as a ``black-haired foreigner.’’

These are professional stock gamblers who win the house by reading everyone else’s cards. They opt for new scientific technology, the cream of the crop for stock scams. Park’s chaebol company invests heavily in a friend’s new environmental research and Seo-yeon has one of her clients buy the company’s shares. They have a famous broadcaster hype public attention while Bryan creates the illusion of foreign investment, and the cash starts flowing in from blind ``ants.’’

A bigger scam, however, unfolds within the ring of scam artists. Outsider Hyeon-su becomes the ultimate insider as he becomes the pawn in a tangled web of backstabbing intrigue.

As much as the film is about people sitting around gnawing away at money matters and monitoring stock transactions online, space is strictly limited to rooms with computers. Nonetheless, ``The Scam’’ never loses its speedy narrative flow and dramatic tension, which is edged with humor. Moreover, it draws in viewers with a full cast of idiosyncratic characters that breathe with life no matter how small their roles are. In these times of economic woes, such a smart film investment will benefit not only the makers of the movie but moviegoers as well.

In theaters Feb. 12. 119 minutes. 18 and over. Distributed by Showbox/Mediaplex.