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We learn that the director of the short film, a character named Yi Hyong-su with whom Tong-su went to film school, is seriously sick in the hospital. It is indeed difficult to believe that this is the same actor who played the lead in Jealousy Is Middle Name.
The complacent thoughts that drifted into my brain in first 35 minutes about which direction this movie was likely headed were rudely betrayed to my pleasant surprise, I must say by what happened next. They are often accused of harboring vulgar and perverse qualities unbecoming their formal resplendence and aesthetic sophistication.
The sole exception is a scene with a shaman and the resulting confusion of this short segment threatens to derail the carefully built up atmosphere.
Kim does have talent, and he employs some creative transitions in moving from scene to scene. It's not just the growing number of dead bodies, but the sickly innovative cruelty of the killing that breeds apprehension in Won-gyu Cha Seung-wona government investigator sent from the mainland to solve the case.
I do occasionally use it though so I will. It is on this isolated and largely self-autonomous island that a string of gruesome murders start to take place. It feels nihilistic at times, and as in Oldboy -- which will surely be compared to this film countless times -- the violence is strong and innovative enough to become a topic of conversation.
However, I can state right off the bat that the Big Revelation that dutifully turns up near the ending is not one of them.
Not only does she not break the rhythm of her performance against extreme long takes and close ups, that reveal minute abrasions and scars in her face, she also makes Jeong-hye absolutely believable in her hesitation and withdrawal, without making her neurotic or eccentric.
Who is Fusion for? A Bittersweet Life posits what might happen if, after all those years, a frozen pysche such as Sun-woo's should suddenly start to melt.
However the score is sappy, not particularly melodic, and repetitive enough to make this minute film a very frustrating experience. At its rousing premiere at the Green Film Festival in Seoul, a prominent Korean film critic told me it may be the best romance Korea has ever produced.
Research conducted by Saegye Daily showed that teenagers choose to date for reasons such as "to become more mature," "to gain consultation on worries, or troubles," or "to learn the difference between boys and girls," etc.
After this emotionally-charged runaway hit, it seems likely that we will be seeing more from him in the near future.
Soyo will mimic the style and attitude of each of these characters in front of a mirror in the next scene, underscoring the over-arching theme of the film: It was never any secret that Mokdugi which means 'nameless ghost' Video is a mockumentary.
However I can't accept that this is the film's key purpose. Most Koreans tend to regard dating as a precursor to marriage. This is not really surprising, given that director Kim Yong-gyun's debut feature was Wanee and Junahboth disturbing and sweet in its measured engagement with the story of an unmarried couple.