Director: July Jung.
Starring: Doona Bae, Kim Sae Ron, Song Sae Byuk.
Running Time: 119 Minutes
Synopsis: An alcoholic detective, Young Nam (Bae), is reassigned to a small town from Seoul after a scandal forces her to lay low. The town has other plans though, as Young Nam must face a village where illegal immigrants are exploited, and a young girl is beaten by her father.
It may very well be the feature length directorial debut for July Jung, but when you’ve got a powerhouse director like Lee Chang Dong in your corner as producer, you know you’ve got all the confidence and backing you need. Unlike other films where a famous producer can be felt all over a production, Jung has her own distinctive style which is more than evident in this compelling drama of morality.
Young Nam is has been reassigned to a small village in order to escape some kind of controversy. Whatever it may be is gently hinted at throughout, allowing us to get to know the character before making assumptions. Her new location is built upon an economy of fishing immigrants, with the patriarch being the only young Korean in town who just happens to be a drunk who beats his daughter. When Young Nam begins to challenge the way of the village she risks further persecution, creating a moral dilemma as to whether she should raise questions or look after herself.
It isn’t long before the beaten daughter, Do Hee (Kim), becomes clingy towards her new protector, and that’s when things become complicated. Jung explores some seriously difficult issues in this brave and captivating piece. Young Nam’s kindness begins to tread the borders of inappropriateness as she takes in Do Hee for the summer to keep her away from her father. She buys her gifts, lets her try alcohol, but always with a sense of innocence that prohibits the actions from being creepy. Of course, had Young Nam been a man it’d be a different story, but instead we are questioning whether this is a sister/mother-daughter/ or something more type of relationship.
Most unsettling is that whatever the case, the relationship builds up a level of sweetness and a sinister atmosphere. As the audience we are also forced to question what is going on and how we feel. Young Nam certainly steps over the boundaries at times, but it’s better than the alternative of being savagely beaten, that is until we begin to question just how innocent and fragile Do Hee is.
Kim Sae Ron, who amazed in THE MAN FROM NOWHERE, gives another incredible performance in one of the most complex roles around. She plays a sweet and innocent victim that longs for love, while also providing enough power to have a manipulative undercurrent. Bae is also on top form in another role that provides many shades of grey. She is far from perfect, but elicits enough soul and gravitas so as to be a striking example of authority. Like a pair of emotional werewolves, both of these actors change from day to night.
With eye-popping cinematography that makes greens sparkle, A GIRL AT MY DOOR is a film that leaves you with a calming confused feeling. Characters get their comeuppance, but does the punishment fit the crime? What are the levels and boundaries of kindness and love? And while doing all of this, Jung tackles social issues important to Korea such as alcoholism and homophobia. The events towards the end are certainly predictable, but not in a boring and stale way, but instead in a tragic sense of knowing where it is all going. Another example of difficult and powerful cinema from Korea.
[usr=5] A GIRL AT MY DOOR screens again on the 16th, tickets available here. It will also screen at this year’s London Korean Film Festival.
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