An important battlefield for resistance, aside from in politics and on the streets, is of course the workplace, and trade unions have a strong role to play in that story. One such is this oppositional work made in South Korea against the background of the Gwangju Uprising, an expression of popular discontent which was brutally repressed in 1980 and led to all kind of fallout during the subsequent decade. It was written, shot and directed by a large roster of activist filmmakers, working largely under the radar of major institutions, and so was only restored very recently.
This Korean film was made in the late-80s, filmed (as I understand it) at a factory which had been occupied by striking workers and using a cast which included a lot of these workers in minor roles. Filmed on 16mm it feels like it has a documentary quality at times, akin to some of the low-budget TV plays being made in the UK at the time which dealt with working-class and working issues in a way that wasn’t exploitative or condescending (itself rather rare in our modern media climate). The main character here, for audience purposes, is Han-su, who sort of watches from the sidelines as his workplace (a metal-working factory) is radicalised thanks to the small-mindedness of the bosses coming into conflict with those who are trying to get a union off the ground. His long face and sullen demeanour conveys his confusion at what’s happening, as he slowly gets up to speed on why unionisation makes sense to protect his job. There’s a nice scene as various people who have been drafted in by management to protect the plant against these unionising workers (who are all swiftly laid off when their plans comes to management’s attention) all find out they’ve been made the same promises. For the most part, though, this isn’t a strident sloganising or propagandistic film, but rather a small-scale drama set amongst these workers that unfolds gradually. The director spoke on stage after the film about how the collective’s first film a few years earlier had been criticised by those whom it had been about, and how that meant they wanted to work more closely with the subjects to find a way of presenting their struggles sympathetically. This they did, to the extent that the film was officially banned and had to find its audience via non-cinematic screenings (which probably makes more sense given the content) and has only now been restored.
Directors Lee Eun 이은, Chang Yong-hyun 장윤현, Jang Dong-hong 장동홍 and Lee Jae-gu 이재구; Writers Kong Su-chang 공수창, Kim Eun-chae 김은채 and Min Kyeong-cheol 민경철; Cinematographers Kim Jae-hong 김재홍, Oh Cheng-ok 오정옥 and Lee Chang-jun 이창준; Starring Go Dong-eop 고동업, Im Yeong-gu 임영구; Length 105 minutes.
Seen at ICA, London, Sunday 3 November 2019.