Director:  Bong Joon-ho (봉준호)
Starring: Kim Hye-ja (김혜자), Won Bin (원빈), Jin Goo (진구)
Running Time: 128 min
Korean Release Date: 28/05/2009
Korean Distributor: CJ Entertainment

, it seems, cannot make a film that is poor or disappointing. Despite having the wildest expectations as to how good I thought Mother was going to be, I came out feeling overwhelmed and truly awestruck. So yes, it is smaller in scale than his two previous feature length films, but is strongly illustrative of Bong’s seemingly limitless talent.  



Bong continues to adopt his wonderful storytelling techniques, which on the surface tells the story of a mother trying to prove her son’s innocence, but like Bong’s other films, there is a lot that goes on beneath the surface that slowly, but surely gets unraveled. The narrative therefore becomes as much about the central story as it does about what goes on around it. Whilst the film’s messages may be subtler than Memories of Murder or The Host, they are nevertheless evident. Perhaps most conspicuous is the relationship between mother and son and what lies at the heart of this maternal bond. Bong has explored this relationship is such intensity that it will resonate well after the credits roll. Bong is also trying to convey the increasing gap between the upper and lower classes, which I suspect is a dig at the current Lee Myung-bak administration as illustrated through the mother whom is reliant on performing acupuncture without a license to make ends meat while those from the more privileged classes enjoy playing golf. Bong, too, again raises his reservations about the upper classes and their control and lack of respect over the working class. Bong also poignantly challenges how Korean society treats those who suffer from mental health problems and how they are often used as scapegoats – his critique in this regard is as damming as Lee Chang-dong’s (이창동) Oasis /오아시스. There are also references to broken families in Korean society and how it affects those raised as such. And Bong again conveys the police as incompetent, naive and whilst not as brutal as the detectives in Memories of Murder, there remain suggestions of abuse. And then there are the references to child prostitution, which is also tackled in Kim Ki-duk’s (김기덕) Samaria /사마리아.



Whilst this may all sound a lot to tackle in one film, the genius of Bong lies in his ability to use these to drive the narrative, so on the one hand, the audience are engaged with the central plot, yet at the same time Bong is able to challenge some of these issues head on without losing his audience. This is how he can remain mainstream, but also remains intellectual as to how he approaches his films.

Even in the central narrative itself, Bong makes it so unpredictable that even those expecting the unexpected will be surprised by the turn of events as the film progresses, so like any Hitchcock film you are left wondering what will happen next. For much of the film, the Hitchcockian influence is obvious; from Bong’s use of suspense, the Vertigo-style flashbacks, to the music and of course the narrative itself – the search for the ‘real’ killer. But this is no cheap imitation; Bong has cleverly adopted his own style around Hitchcock, as it still feels very much like a Bong Joon-ho film through his use of style and bottomless depth.



Stylistically, the film is probably his strongest and innovative of his career to date. Although his other films are of course superb when one discusses his use of aesthetics, Mother has raised the bar yet again for Bong, with the help of course from cinematographer, Hong Kyung-pyo. Bong's use of the hand-held camera, which seems more prevalent than his other films – though, of course he has always been partial to hand-held cinematography – and the use of colours almost comes across as a film from the avant-garde movement for its emphasis on style. Yet it never feels over the top, but rather complements the film as a whole. It is stylistically rich and aesthetically mind-blowing.

The soundtrack by Lee Byeong-woo – and this is not an exaggeration – is one of the finest, most beautiful soundtracks I have ever heard, not only in Korean cinema, but film as a whole.  Whilst the film could work without it because it is so strong on its own, the music allows the film to almost come of the screen. It provides the film with the life and resonance it so richly deserves. This is no soundtrack that has one piece of music on loop; oh, no, it is a compilation of a diverse score ranging from thumping rhythmic drums  - a characteristic of Bong’s films – to Hitchockian suspense through to some wonderful therapeutic melodies.  



It wouldn’t be a Bong Joon-ho film if it lacked humour. From the film’s opening through to its conclusion, Bong remains set on making his audience chuckle, not only to bring some colour to the film, but more importantly, to make particular scenes more poignant. This may sound like a contradiction in terms, but Bong is able to bring in laughter when it seems least appropriate, yet allows particular scenes to resonate in your mind for a very long time. The film’s concluding scene is a strong example of this – in part very funny, yet also extremely somber and thought provoking.

Many will remember this film for the performance of Kim Hye-ja

too is exemplary as Do-joon and again should be in line for a catalogue of acting awards. The supporting roles are likewise, faultless. Some will recognize the excellent Jeon Mi-seon (전미선) who appeared in Memories of Murder. Although Bong has been blessed with a strong cast, like Lee Chang-dong, Bong is able to get the best out of his actors/actresses and hence the remarkable performances from his entire cast, especially the two leads.



Bong Joon-ho

Director: Hong Sang-soo (홍상수)
Starring: Kim Tae-woo (김태우),Eom Ji-won (엄지원), Ko Hyeon-jeong (고현정) & Kong Hyeong-jin (공형진)
Running Time: 126 min
Korean Release Date: 14/05/2009
Korean Admissions: 38,497

Review

Hong is well known for his seemingly realist films that take a while to get one’s head around. Some even are often put off by his style of storytelling, which adheres to a more art-house style than it does to a conventional form of filmmaking. I have always admired his work, though I sometimes struggle with his particular style. Like You Know It All, whilst doesn’t offer anything new – this was a criticism of his last film – it does, however, feel fresh, more accessible and compelling. 



The film is essentially split into two parts; the first part follows director, Ku played by Kim Tae-woo, who is invited to serve as a Jury at the local Jaechon Film Festival. He later meets an old friend but things turn sour after a confrontation at dinner. The film’s second half follows Ku on a trip to Jeju Island to talk to a film class where he runs into an old female friend, Gosun (Ko Hyun-Jung) whom he asked to marry him.

While the film often appears to follow a realist aesthetic with long shots, little editing and in many ways characteristic of Korean realist cinema - some scenes almost feel like they are being improvised – this film, however, is deceptively realist. Every scene has been carefully thought out, even if some scenes do look like the actors have been left to their own devices and the camera left on. In some scenes the character of Ku looks as is if he is completely lost and Kim seems to be unsure how to convey this rather odd personality, but this all at the devices at Hong.



One of the film’s greatest strengths is its humour, but is not used in the conventional sense, oh no. Hong likes placing characters in awkward places and environments and get the audience drawn into the scene where the awkwardness of the scenes becomes strangely humorous. In one scene when Ku enters the film festival office to get his ID and festival pack, he stands there as if he has nothing better to do and in another scene in the second half of the film when they having dinner with a famous painter, but when the painter goes to bed, a student follows him and you can hear them have sex in the next room. The rest of them are sat not knowing what to say or do. Whilst it is has quite an uncomfortable feeling  - disturbing too – there is a comical element to it as well.



The character of Ku is interesting. At one stage I thought Hong was making a film about himself – a director on the festival circuit, not sure of where his films place him as a director, sleeping during screenings and a filmmaker who makes films that people don’t understand. Though I am not sure that the references to broken promises and being conveyed as a hypocrite  - he comes across as he if knows everything, but is in fact is very naive, impetuous and careless - are references to him in particular.

The whole cast perform admirably as you would expect in a Hong Sang-soo film. Indeed, Kim Tae-woo and Ki Hyun-jung have acted in Hong’s films before. Likewise, as pointed out above, the style is as you would expect, though I have come to admire his work more following this film for his unique take on style even if some will label him as repetitive.




All in all as with any film, it has divided the critics, not least when it comes to Hong Sang-soo, but in my view at least, this is the most interesting and accessible film of his in recent years.

* * * *

Jason Bechervaise

Lost in the Mountains.



Director:

Unfortunately, because I had to head across the river in order to make the screening of Mother, I wasn’t able to stay for the whole screening of Visitors and therefore only watched Hong Sang-soo’s Lost in the Mountains. Consequently, this review is based on this film alone and yes, this is problematic, but I rather review this film for what it is than not at all. If I do get hold of the other shorts, I will add something to this review, but for now, I trust this will be suffice.

Completely shot on digital as part of a project commissioned by the Jeonju Film Festival, this actually complements Hong’s rather minimalist approach. The film follows Mi-sok who spontaneously decides to go to Jeonju to see her friend and classmate, Jun-young. But as the film unveils Min-sok had an affair with her former professor, Min-sok discovers the professor is having an affair with Jun-young. To further complicate matters, she meets and sleeps with her ex-boyfriend. The film culminates in a scene when they all meet together.



The film again follows Hong’s stylistic approach as the camera is left on to capture the scene, but in reality, each scene has been methodically thought out in Hong’s head even if it just minutes or seconds before the final take. The film’s premise, I guess, is not necessarily an endeavour to tackle a particular message although there are points he wishes to address – he for example again seems to tackle the issue of professors sleeping with students - but to make its audience laugh or watch in horror as Hong puts his characters in increasingly awkward and embarrassing situations. Perhaps emblematic of this is when Mi-sok, her ex-boyfriend and Jun-young are drinking together in a restaurant, but as Min-sok gets more drunk, she and her ex-boyfriend engage in a passionate kiss, while Jun-young is simply left to watch. Then in the final scene – the morning after – the two couples: Min-sok & her ex-boyfriend and Jun-young & the professor happen to have breakfast in the same restaurant. It is almost difficult to watch as tensions and a surreal sense of awkwardness goes through the roof. This is Hong at his best, it really is.



So if you want to watch a more digestible and much shorter film that is characteristic of the work of Hong Sang-soo, go no further than Lost in the Mountains. It will make you think, laugh and yes; it will even make you feel a little uncomfortable. But this is Hong Sang-soo.

* * * *

Jason Bechervaise