Several interesting new films had local openings recently. I chose this South Korean thriller and had a good time. Directed and co-written (with Lee Hae-jun) by Kim Seong-hun, it was a Directors’ Fortnight selection at Cannes 2014. Like many Southeast Asian crime films, the heroes can be cops or crooks, almost interchangeably. This one gives a new slant: the hero is a crooked cop.
I should adjust that; only mildly crooked. Divorced and raising a young daughter, Homicide Det. Ko Gun-su “indulges”, like others in his squad, with occasional payoffs and padded perks, but stays true to catching the bad guys. But, from the film’s cynical perspective, that’s not enough to protect him. The film’s clever setup has him running over a man while driving from his mother’s funeral to the burial. Rather implausibly, he stuffs the dead “victim” in the trunk and gets to the parlor late, with apologies. In this first section of the film, about forty minutes long, maximum suspense is achieved when he conceives of a novel way to dispose of the body before the funeral parlor closes, although his shame at the disrespect to his deceased mother is most painful for him. This section also has the most wit and ingenuity, especially in the way he uses his daughter’s toys in his plan.
The rest of the film concerns the unexpected consequences of the car accident. It seems that the dead man lying in the road had actually been shot beforehand, and was a top criminal that Gun-su’s squad was investigating. Gun-su is blackmailed by a witness to the accident, whose identity is revealed slowly. There are plenty of twists along the way to a violent conclusion, and Seong-hun keeps the action hot and fast. Still, except for one jump-out-of your-seat shock, there are no real surprises.
One thing I always find interesting about the crime films from Southeast Asia is the use of close-ups. They rely much more on close-ups of the actors’ faces in the action sequences, while American films pull back to showcase all the movement within the frame. The latter certainly costs more. So why do it? Possibly because audiences for American films expect more, and more expensive, destruction of property to go along with the body count. Maybe, more buck for the bang?