The filmmaker Hirokazu Koreeda has been turning out warmly-received films since his fiction feature debut Maborosi in 1995. Many of them — certainly, it seems, all of the most acclaimed — are warm-hearted family dramas, whether dealing with children directly as in I Wish (2011), with parents of kids in Like Father, Like Son (2013) or with young people in Our Little Sister (2015). However in many ways that’s only half his output, as he’s also made plenty of films that don’t fit quite so neatly into this framework. I was planning on writing a post about maybe one of these, but then I realised I had a vast cache of reviews of films that really aren’t very well known by this famous director, and I wonder how many great directors could have made great films if they’d been given as many chances. For one example not even covered here, there’s his latest English/French-language The Truth (to be reviewed here later this week), but there are also these four films reviewed below: a film about terrorists; a period drama; a sex drama; and a legal thriller.
Following 1955’s The Widow, there are barely any films directed by women throughout the rest of the century in Korean cinema. One of the earliest to gain any widespread acclaim was this one directed by Jeong Jae-eun (born 1969). She has largely moved into documentary filmmaking since then, but far more women have take up directing in the Korean cinema industry since.
Every generation has its ‘state of the nation’ ‘here is how the kids live now’ type of statement film, and I guess this is it for 2001 Korea — five friends, just out of the education system, making their way in the world. Bae Doona as Tae-hee is the kind, thoughtful one who keeps the group of friends together, who goes out of her way to help others in need, and who is generally the best person in the film, especially in the way she reaches out to Ji-young (Ok Ji-young), who lives in poverty with her grandparents, and scrapes a meagre living with her art, eventually withdrawing almost completely except for the cat of the title. (Cat lovers incidentally may note there isn’t all that much of it in the film.) Take Care of My Cat may not have any big set-pieces or bold action, but it makes its quiet, compassionate way through several divergent stories and really gives a sense of these different women at a moment in their lives.
Director/Writer Jeong Jae-eun 정재은; Cinematographer Choi Young-hwan 최영환; Starring Bae Doona 배두나, Lee Yo-won 이요원, Ok Ji-young 옥지영; Length 112 minutes.
Seen at home (DVD), London, Tuesday 12 December 2017.
For an 18-rated film this is an odd experience, not least because it avoids entirely the kinds of things you expect in 18-rated Korean films. Largely that’s because most Korean films that get a Western release are horror movies or otherwise extreme depictions of violence and revenge. A Girl at My Door has plenty to offer that’s disturbing (why else would it have an 18) but it’s not due to body horror or violence, it’s more down to the basic stuff of human interrelationships. Young-nam (Doona Bae) arrives in a small coastal town to take up the post of police chief; the reason for her posting remains mysterious, though there’s a hint at some wrongdoing in her previous role. She takes a place near to where young girl Do-hee (Sae-ron Kim) lives, and witnesses the girl being terrorised by her drunken father (Sae-byeok Song) and grandmother, so she steps in, over time taking on an almost maternal role to Do-hee. It all ambles along in an unhurried way, building up a picture of this community and the various relationships within it, folding in immigrants working there illegally, a measure of racism, sexism and homophobia, all the familiar stuff of small town drama. The kicker is the child abuse allegations and this is where things get really complex, but there’s a hint this may be less an issue of pædophilia as pædophobia, and importing a real sense of unease to the situation. There are hints in the setting of something like Jane Campion’s Top of the Lake, but the character drama is much more internalised and controlled, with excellent performances from both of the leads.
Director/Writer July Jung 정주리; Cinematographer Kim Hyun-seok 김현석; Starring Bae Doona 배두나, Kim Sae-ron 김새론, Song Sae-byeok 송새벽; Length 119 minutes.
Seen at Picturehouse Central, London, Friday 25 September 2015.