찬실이는 복도 많지 Chansilineun Bokdo Manji (Lucky Chan-sil, 2019)

I’m fairly sure that if I watched this little Korean indie film again I’d like it even more. It has a relaxed vibe that may owe a little to Hong Sang-soo, but is mostly down to the film’s director/writer, one of Hong’s former producers, whose directionless character of the title starts to find a little bit of it as the film goes on.


This is hardly even the first South Korean film directed by a woman that I’ve seen about someone who’s already lived a bit of their life (I hesitate to say middle-aged, but sort of on that cusp of it) who feels directionless and unmotivated and unfulfilled. I’m thinking of Microhabitat, though it has a quite different vibe, but also the fact that the central character is a film worker makes me think of Korea’s great indie auteur Hong Sang-soo (again, his works have a quite different feeling, though it turns out that this film’s director did indeed produce many of his films for a period). In any case, Chan-sil finds herself out of a job as a film producer and unwilling to keep on trying to do it, wracked with depression, renting a room off a cranky older woman (“Oscar­™ winner” Youn Yuh-jung), working as a cleaner for a young actress, and generally feeling down. She even gets visited by the ghost of Leslie Cheung (obviously not really him, and with plenty of self-deprecating dialogue at his own lack of resemblance thereto). It’s amiable, if understandably a little meandering (given Chan-sil’s malaise), but I liked it.

Chansilineun Bokdo Manji (2019) posterCREDITS
Director/Writer Kim Cho-hee 김초희; Cinematographer Ji Sang-bin 지상빈; Starring Kang Mal-geum 강말금, Youn Yuh-jung 윤여정, Yoon Seung-ah 윤승아; Length 96 minutes.
Seen at home (Mubi streaming), Wellington, Wednesday 20 October 2021.

Minari (2020)

A film from earlier this year that I liked and need to try and recall at this great distance, it was released in NZ just before the Oscars ceremony it qualified for (being a 2020 film), where it won the Best Supporting Actress prize for Youn Yuh-jung. I’d seen the director’s debut, which is a Rwandan-set film called Munyurangabo, so his career (and presumably life) has been a fairly peripatetic one. And while this deals with a Korean family, it is set in and also very much is an American film at its heart.


A gentle and sweet film about assimilating into a new culture which will surely ring bells with anyone who’s done that — even if my own experience is merely moving from one anglophone country to another, hardly placing me in the same situation as this Korean family looking for better lives in the early-80s. Having been living in LA, the father, Jacob (Steven Yeun), tempts the family out to a small corner of the middle of nowhere (Arkansas), where he can start a farm and live the life he wants; his wife Monica (Han Ye-ri) is hardly convinced, and brings her mother over from Korea to help her (this is Youn Yuh-jung). However, surprisingly for me, the highlight of the film is the kids (Alan Kim and Noel Kate Cho), who manage to hit the right note and not be too precocious or annoying (as they too often are in films). The plot takes a few rather big turns (such as a fire at one point) that I’m not sure the story needed, but the ensemble acting pulls it through for what is a sensitively told tale.

Minari (2020) posterCREDITS
Director/Writer Lee Isaac Chung 정이삭; Cinematographer Lachlan Milne; Starring Steven Yeun 연상엽, Han Ye-ri 한예리, Youn Yuh-jung 윤여정, Alan Kim 김선, Noel Kate Cho 노엘 케이트 조; Length 115 minutes.
Seen at Penthouse, Wellington, Thursday 11 February 2021.