A Midsummer’s Fantasia review: Could be described as a double feature of two shorts, and it’s just a shame that the stronger film was placed first.
A Midsummer’s Fantasia review
A Midsummer’s Fantasia sees director Jang Kun Jae spread his artistic wings in comparison to his his last effort Sleepless Night. They still share a very similar tone, and once again sees exploration of relationships in a calm and subtle manner. Where it differs is in the artistic ambition. Before, Jang kept to a 4:3 aspect ratio, whereas now he is in full widescreen mode. The switch makes perfect sense, given the fact that he captures many beautiful exterior shots of stunning locales. The film is also broken down into two chapters, which effectively work as two individual films.
The first is shot in black and white and sees a Korean film director (Im Hyeong Gook) and his translator (Kim Sae Byuk) travel to Gojo in Japan to location scout for a new film. The film is very natural, while still being more stylised than Jang’s last effort. Gone are the cramped shots and gritty camerawork, and here are crisp black and white images. So many levels of greys are contrasted against one another that one incredible shot seems o illustrate a trio of mountain ranges, one behind the other, before blending into the clouds. This half of the film follows the in film director’s fascination with different subjects in the area, whether it be a specific location, story, or elderly woman sitting on the side of the road.
A Midsummer’s Fantasia review
The dialogue is very natural, and can often be delivered in seemingly unrelated anecdotes. One exceptionally long take – of which Jang is certainly a fan – sees a local recount his aspirations to become an actor. The shot is close-up and never looks away, giving us deep insight into a secondary character. It’s a subtle moment of complete dedication on Jang’s part, where the rest of the film pauses for this moment. Everything delights in this portion of the film and it feels fresh and insightful.
The second half is by no means bad, but it does feel less essential. Shot in colour, the second chapter has no connection with the first chapter, although it is heavily implied that it is the film that the director in the first segment was scouting locations for. This is the most interesting aspect, as we see locations previously only seen in black and white suddenly come alive in colour. Despite the use of colour adding more life, the story itself is less fulfilling.
A Midsummer’s Fantasia review
This time we follow a young woman visiting Gojo who is befriended by a local farmer. The two hang out and chat, and a kind of romance obviously blooms. It’s understated, but to a point where it is hard to invest. It may not follow usual romantic conventions, and does explore the complexities of emotions rather than labelling them as love or not. It is also great to see Jang move effortlessly from black and white to colour and treat each section as a truly individual product with rewarding connections.
A Midsummer’s Fantasia is exceptionally well crafted if a little unbalanced. In some ways it could be described as a double feature of two shorts, and it’s just a shame that the stronger film was placed first. It works as a lovely little travel diary for the small town of Gojo, and the peaceful tranquil setting, from where young people have almost vanished, fills the viewer with joy and a longing to visit. A lovely shot effort that once again shows the promise of Jang as a director, hopefully next time the raw emotion of Sleepless Night will combine with the artistic visuals here.
A Midsummer’s Fantasia review by Luke Ryan Baldock, November, 2015.
A Midsummer’s Fantasia screened at the London Korean Film Festival 2015 as part of their Emerging Directors strand.
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