music friday
music friday: covers

film fatales #20: paju (chan-ok park, 2009)

After seeing so many Korean horror films (most of them quite good, of course), it was an interesting pleasure to take in a Korean movie whose horrors are implicit. Paju is many things, but at its heart, it is a character study, and while I assume I am missing some of the more local Korean reference points, it works fine in the simplified world of character.

Which isn’t to say that Paju is simple. Park draws on complex film techniques, most notably in her use of flashbacks, which are rarely identified precisely. The placement of those flashbacks leads more to uncertainty than to confusion, and throughout, Park is building a story for her characters that may be told out of order but which make an emotional sense. The relationship between the primary characters, Joong-sik and Eun-mo, is the heart of Paju, but external events drive the story ... in the “present”, Joong-sik is part of a team of activists fighting developers with something resembling guerilla warfare, while in the “past”, he is a horny young man who experiences something tragic. The key to the relationship between Joong-sik and Eun-mo lies in her sister, Eun-soo, who is married to Joong-sik (thus, Joong-sik is Eun-mo’s brother-in-law). Eun-soo does not exist in the primary “past” (Joong-sik hasn’t met the sisters yet) or in the present (Eun-soo is dead). We see her in the period between the two main periods, but we don’t know until the end why she disappeared. All of this leads Eun-mo to mistrust her brother-in-law ... she wonders if he was responsible for her sister’s death ... but their close relation gradually leads to love, which is a problem since she is still young.

Or so I think. As is often the case, I lost track of the plot on several occasions. But it mattered less than usual, because I was taken with the stories of the characters. And Seo Woo (or Woo Soo ... I am not aided by the fact that various sources list Korean names in different order, so she is Seo Woo on Wikipedia but Woo Seo on the IMDB) does wonders with the young Eun-mo, capturing the screen every time she appears. Also, I never got the feeling Park was using a fractured time frame just so she could show off or obscure. While at times confusing, the various flashbacks deepen our understanding of the characters, and so feel central to the film in ways that are not simply annoying. 8/10.

(Explanation of the Film Fatales Series.)