unterwegsimkoreanischenD

About a great service of love AKA a fateful, karmic relationship

"Past Lives" is a US production. Both the author and the two 'Korean' leads have Korean roots, but they did NOT grow up in Korea, nor do they live there. The story is autobiographically inspired and is dramaturgically presented in authentic dialogues on the one hand and selected, visually impressive sets on the other. It is about the aspect of fate (and or Karma) in encounters as well as pondering platonic love. "Past Lives" is indulging into the emotional world of more or less accountable and sensitive reflection of the protagonists, especially of those two extraordinarily mature, fine young men. You rarely see that. Additionally, as far as camera work was concerned, light and perspectives were chosen with care and thus implemented as supplementary actor, sort of. All this is quite wonderful and has already been widely praised. “Past Lives” is thus a movie well worth seeing.

This movie presents South Korea and an attitude towards South Korea through the eyes of a South Korean girl who during the 1990s emigrated with her family at the age of 12. She then grew up in Canada, tried her luck as a playwright in New York, married an American, received the green card as side effect, and is ambitiously seeking recognition and success as a writer today. “Past Loves” thus has its positive emphasis on life in the US. The protagonist´s family had turned their back on South Korea. However, besides everything else, that has been already mentioned all over the place, I would say, that "Past Lives" is actually indirectly, in a rather subtle, reserved, unobtrusive way, (almost overlooked and hidden underneath the shiny, promising dominance of the US,) about positive Korean specific qualities, too... Therefore…

Generally, “Past Lives" juxtaposes those two ´worlds´ rather dichotomously. THERE South Korea, the country of origin that was left behind - far away and rather in the background, in the camouflage colors of the military and surrounded by plenty of soju. HERE the USA - reduced to a highly stylized New York (and artist retreat on Long Island), that is bathing in beautiful light and selected colors. In several respects, the United States is presented as the unrivalled better choice.
However, we experience these worlds through the eyes of the protagonist. In Nora's eyes, South Korea stands for conservative narrow mindedness, constraints, lack of freedom (which to some extend is certainly true). The USA, on the other hand, for her is the symbol for freedom, creative power, partake (should, could, might as well…). Eventually, those world views turn upside down. These are prejudicial concepts, both of which are not generally correct, e.g. each not representing the whole truth.

So, KOREAN normal everyday life is portrayed as conservative, shaped by her parents perspective and Nora's childhood impressions of the 1990s: the young democracy, already economically shaken by the Asian crisis. Her parents were artists and as such one way or another most probably influenced by the shaky turbulences of pro-democracy movement of the 1980s. They wanted a fresh start. Yet, what remains in Nora's memories? Very vague memories of school days, of what was said at home, of the striking images that remain impressively to this day. Bottom line: 'Men have to do their military service.' 'People are conservative and unsophisticated.' 'Men dependently live at their parents´ home until marriage.´ ´You can´t proceed in life.´
On the other hand, NORTH AMERICA is the much-cited world of unimagined possibilities. For Nora specifically, it is about a liberal world for the arts. She´s dreaming about her successful future, while the ambitious daughter may actually be living a much wanted life in lieu of her parents, too, to a certain extent. However, this ambitious dream is symbolically captured as an aesthetically abstract decal of New York and the Montauk artist retreat. For Nora, the USA represent a possibility to fulfil her dream of international prizes as an author. Thus, the USA as the center of her life is uncompromising and practically non-negotiable. That's okay and understandable.

This South Korea in the movie has a strong touch of Nora´s own prejudices. Apparently, she never emotionally processed or reflected her relationship to her country of origin. A deficit, which may also narrow down the perspective of the audience. Therefore, I would like to stand up for positive 'Korean merits', which only shine through subtly. In fact, though, they are formative for the characteristic poetic quality of the story. They come along in the person of Hae Sung. Thanks to him Nora can finally hold the key to her emotional freedom in her hands. (Whatever she may do with it now...) Thanks to Hae Sung (so to speak) she got her story and thus her tremendous success as a writer and director, too.

If you don't identify with Nora´s enthusiasm for the US so much, it might be easier to recognize those ´Korean merits´. Hae Sung actually embodies the opposite of what has settled in Nora's mind about South Korea. He stands for a new spirit among the digitalized young generation - even though he is an engineer. She, however, sees what she wants to see, reducing him to military service, close family ties, his clearly structured career and his reserved answers to her questions about marrying or rather not marrying his girlfriend.
Nora overlooks the fact that in his half-hearted answers about marital responsibility he carefully avoids generalizations so as not to overwhelm her with his feelings for her. She overlooks the fact that Hae Sung is indeed the courageous creator of his own world, possibly facing life even more creatively and openly than she dares herself. He chooses to study abroad in China because he wants to learn the language and because it may suit his career, too. He is ambitiously following his career plans, just like she does. Nevertheless, he is open to life´s challenges and ready to completely turn everything upside down. He is actively dealing with what is going on between the two. He prefers not to go for a logical, reasonable marriage. Instead, he takes what his heart tells him, seriously. He wants to sincerely check it out. This makes him vulnerable, too. Actually it was him, who originally went looking for Nora. With courageous creativity he took the chances life had to offer in his own hands. From a practical point of view, HE thought creatively and acted courageously. Nora on the other hand was the one, who, to a certain extent, simply unwinds her program without looking to the left or right.

Back then, when she left South Korea, she just put her feelings away, came up with a new name, learned the new language and left her best friend (and Korea) behind like an old toy. Since then her feelings for her old homeland only slumber unconsciously in her dreams. In her life, which is highly concentrated on her career as an artist, her past and origins have not been given the place they deserve. Hae Sung has to come first to open the door to that forgotten dungeon of her heart.
Still, we don't know whether Nora was able to take the 'little one' in herself by the healing hand - the 12-year-old Na Young, whom she had left alone in the past. All we know is that Hae Sung gave her a chance to reconcile with her roots and a hidden, almost forgotten part of herself. His great service of love was: not forgetting her, not giving up on her; looking out for her; meeting her, too; recognizing her for who she is; reminding her of something else, that she had almost forgotten; and finally letting her be - in an understanding, loving, respectful, ´Korean´ manner. Even if it hurts.
Actually, being himself, he represented another powerful aspect of South Korea, that Nora had so far not realized as such: A finely nuanced, rather emotionally dominated and yet respectful attitude towards life. This in contrast to a rather dichotomously shaped - black/white, good/bad, yes/no -, rather reasonable approach towards life, as it radiates from her 'North America'-concept.

At the heart of "Past Lives" is the probing of the protagonists' feelings for each other. What are those feelings supposed to be? Platonic maybe? Or more than that? And of course the story lives from the attraction of 'What if?'. This careful scanning of a space of potentiality is processed aesthetically cultivated, and stylishly. Respectfully too. Finally there are tears. ´Past Lives´ it is… However, the striking poetic aspect of this story is only made possible (in my opinion) by this very South Korean Hae Sung, who is not afraid to meet the multilayered complexity of emotional depth, confusing affection and difficult challenges in life, and (!) who is also not afraid to back off in respect to a larger context either. Thus he eventually even provided her on the silver platter of his heart with the so much longed for international artistic success...

PS:
Must be the 'In-yeon' they keep talking about throughout the movie...


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SIDE NOTE:
In-yeon = a fateful, karmic relationship
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Its empathic. Powerful. Yet, beware: it is rather slow & actually not on the bright side of life

"Trolley" is a SBS production for South Korean TV first of all, even it is promptly running on Netflix, too. One could say that the KDrama is about a politician's wife, who is caught up in an emotionally draining past and overtaken by an extremely unpleasant present. One could say that it is about an ambitious politician with a promising career, who is in the middle of the national assembly election campaign and will give everything for it. One could say that it is about the classic moral trolley dilemma, which is running through the story like a key note – should one intervene in the unstoppable, catastrophic events and sacrifice one human life in the process, or let things take their course, the but then (in the case of the trolley dilemma) will claim several victims? With respect to each of these varying aspects, the story delivers suspense, depth and emotional intensity, enriched with complex details until the end.

"Trolley" is like a large patchwork quilt made up of many colorful, isolated, fateful pieces of the jigsaw puzzle that becomes a whole while increasing in suspense episode by episode. And this spectacular whole is what I particularly appreciate about this KDrama. Because the production is dedicated to a sensitive issue in South Korea society: the devaluation, harassment, oppression, contempt, discrediting, defamation, exploitation, sexualization of women and widespread physical violence against them.

The KDrama articulates a quiet howl calling for change. This howl, which has been rather mute for the longest time, wants a voice. This howl of pain wants to be heard. One voice should become many. Laws protecting women (and victims of abuse in general) would be all well and good. But even more so (and above all) there is a need for courageous role-models of women (and men) who lead the way. (Or for a start: KDramas and their e.g. female protagonists...) Role models are needed, who stand up for themselves, for their lives, for what happened to them, and for their rights as human beings. Tangible role models are needed embodying what lies at the heart of (these much-needed) laws: the non-debatable dignity inherent in every human being, regardless of gender, creed, birth, or ability. Paragraphs alone are not enough. They must be filled with life. With people who dare to actually venture out of the familiar swamp with their heads held high. And that's (for women) still easier said than done in South Korea 2023. "Trolley" embodies these circumstances in an impressive way. In fact, this is more than overdue. This TV production also places this message with some force and spreads it worldwide, too, so it cannot be overheard. Can it? May the message get through and encourage … women, young people, … and men too.

However, the spotlight is not directed at one or 'the' man as such, but at society as a whole, in which women structurally function (or supposed to function) well; in which they themselves participate in the premises - as mothers, as classmates, as part of a bullying, via public and Social media easy to manipulate crowd. The poisonous social thorn is so deeply rooted within women themselves: a systematically and consistently cultivated, inferior attitude towards their life. The the circumstances usually aren´t even seriously questioned because: that's the way it is… has been… (will be?)

Practically all of the women in this KDrama represent a self-esteem that has been deeply hurt and thus weakened as a result of private and public devaluation or even physical violence. They all somehow learned to live with it. They are battered, wounded and scarred, and they suffer from their feeling of inferiority that weakens them into old age. The worst thing about it: that they are still standing there alone, because nobody really can/wants to acknowledge their suffering and justified anger. Women have had to learn to live with the fact that there are no witnesses, no advocate, no encouragement, no attention, no consolation for them and their traumatic experience of harassment. No one is standing in their corner. The social message: You didn't deserve anything else. You´re to blame. 'Submissive, quiet, tame and silenced, everyone can do whatever they want.' Such is fate as a daughter. As an unwanted daughter. As the first daughter. As a daughter-in-law. As a wife. As a divorced woman. As an illegitimate mother. That something, which has remained deeply in these women, now shows impact, too: so that they either secretly and quietly devalue and question themselves, alternatively devalue others on their behalf, or let others devalue them on principle. This painful experience has not been redeemed to this day and should not be redeemed (from the social point of view of some). It is the ingrained yet invisible mark that South Korean society brands its women with. With "Trolley" it is out in the open. In multiple ways. Options for change are discussed, and the difficulties involved are also explored.

A strong portrait of society, cleverly prepared and seriously presented, yet in an entertaining manner. The KDrama meets a red-hot zeitgeist that calls for winds of change. The story courageously challenges the conservative, patriarchal attitude, which by nature denies women the right to be fully acknowledged human beings with the same rights. In the course of the last year, blood boiled high in South Korea after President Yoon declared 'structural sexism' being no longer existent in the Republic and wanted to abolish the Ministry for Equality and Family (or move it to other departments). In these times (see also the side note below), "Trolley" is a courageous and important production, because it tells a different story - that of devalued, sexualized, abused women in a self-satisfied man's world. Respect!

Its empathic. Powerful. Yet, beware: it is rather slow and actually not on the bright side of life.








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SIDE NOTE: --- Always burning topical: violence against women in South Korea ---

If you compare the crime statistics in (i.e.) Germany and South Korea, South Korea is clearly the safer country. Seoul is arguably one of the safest cities in the world. But not for women...

Overall, violence in South Korea may be limited. But against women it is alarmingly widespread. Of the violent crimes recorded in South Korea, about 80 percent of the victims are women. In 2020, more than 58 incidents of sexual violence, including rape, were recorded among 100,000 residents in South Korea. (There were 12 in Germany for comparison). There have been newspaper reports of brutal femicides almost weekly in recent years. In a national survey conducted by the Ministry for Gender Equality and Family in the summer of 2021 (the ministry still existed then), 57.8 percent (!) of women stated that they felt threatened by misogynistic violence.

But the current political line is different. President Yoon stands for the values of the so-called "New Men's Solidarity". Behind this is a deeply patriarchal, conservative thinking that denies women to be full human beings with the same rights. Accordingly, the official line tends to go backwards: the penalties for false allegations of sexual assault are increased and the politicians rather argue with classic perpetrator-victim reversal: the women provoked the men by not doing what the men want them to do . Courts rarely judge in the interests of women. On the contrary. The outcome might be: victims of sexual violence are punished more severely than the perpetrators. Law against defamation of sex offenses is far stricter than that on sex offenses. It allows victims of sexual violence to be sentenced to up to 3 years in prison – even if it is proven that their publicly disclosed allegations are true. In the actual cases of sexual offenses, the verdicts against the perpetrators, however, are mostly merciful, with a mild sentence for crimes against women, as soon as there is one or the other weakening reason or an impeccable good reputation. Lax investigations and re-traumatizing behavior towards female victims in police and judicial authorities make matters worse.

All in all, it is very difficult for women to effectively defend themselves against the violence they might have experienced. Headwind blows from almost everywhere. Here we are again with the deeply patriarchal, conservative basic attitude of a society that denies women as a matter of course that they are full human beings with the same rights. This 'self-evidence' needs to be questioned and confronted. Resistance works best when women unite and at least start to stop this structural mutual devaluation among themselves. Speak, talk, share, cry, console... You don't need laws for that. Supporting one another, acknowledging injustice as such, comfort and compassion would be soothing ointments on the wounds of countless women that could heal a little bit better that way.

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The KMovie is carefree, harmless and heartily. However, it is not trivial.

"Dream" is about team spirit as a positive force that allows a group to excel itself. The KMovie is carefree, harmless and heartily. However, it is not trivial, as it sides with those commonly referred to in society as the weak.

You shouldn't expect too much, then everything works quite well. Obviously, IU and Park So-joon are the show's carthorses. But that doesn't do justice to the rest of the cast, who all contribute their unique esprit. “Dream” comes across as teamwork through and through.

Although it was filmed at original locations in Budapest, somehow, in my opinion, the casting (unfortunately) often enough doesn't work so well, when Korean productions are dependent on actors from different origin. For whatever reason. Even if it's only supporting roles or extras in this case, they seem to be rather amateurish. Hm.

All in all: “Dream” is a KMovie for high spirits and light fare. Not intrusive. With a few flaws here and there. However, also with some well-placed, wonderful and valuable messages in passing.

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More than a remake. Delicate timbre. Powerful. Reckoning with the void of a luxury-branded world

"Pale Moon" develops a particularly delicate timbre. Fine personality portraits, none of them smooth and pore-deep clean, but rather inwardly crumpled people with dreams and weaknesses, people who sometimes make questionable decisions, who don't stick to the rules, who succumb to the temptation to take the chance to realize their dreams.

A little 'noir' here and there. In any case, emotionally dense. Unexcitedly emotional. Quiet and yet powerful.

The KDrama is based on a Japanese Original (Mitsuyo Kakuta), which was successful as a series and movie, too. This is now a South Korean remake. Apparently, Kim Seo-hyung was immediately (after she saw the original in 2015) determined to play the female lead in any potential South Korean remake. You can tell, she is breathing her role.

The original novel is about the embezzlement of bank funds as actually happened in Japan. In South Korea, the list of embezzlement in billions is also long and the remake is accordingly well placed.
However, the South Korean remake is about more than misappropriation of wealth on a large scale. This is generally about lies, deceit and deception - even on a smaller, manageable, interpersonal level. However, it is also about human vulnerability, the cracks in the facade.

The story unfolds against the background of unstoppable consumption - a veritable frenzy of consumption that has long since left any connection or grounding behind. A life-style in a parallel world, that only a few can really afford. This world of luxury, which initially seems appealing, develops an intoxicating, addictive character and ultimately catapults itself into the void. What remains when the lover equips the lover with the designer goods from head to toe, from the car to the house including the interior and the laptop, too? Alert, alert: the luxurious world of matter - initially well camouflaged as the lifestyle of your dreams - becomes an ugly parasite that feeds on substantial emotions, liveliness and passion, but in the end leaves nothing behind...
In the field of tension between the dreary normality of a boring everyday life that is perhaps pimped out on the outside, but emotionally rather empty, almost everyone here is willing to deviate from the path of virtue in order to get a piece of the promisingly dazzling consumer cake.

Nevertheless, the story also tells of the sincere moments of perception and recognition of unsightly vulnerability. These are the moments when sincere encounter happens to become possible. On the outside, these are not the nice, shiny TaDa moments, but on the inside they provide light and warmth, they nourish the soul, like water making flowers bloom. Moments that cannot be bought with money. Moments that are among the most worthless in the dazzling world of consumption, shunned, despised, marginalized, excluded.

In this way, "Paper Moon" is an intelligent approach of reckoning with the consumer-driven social reality in which 'appearance' takes the place of 'being'. Quietly and constantly the KDrama is reminiscent of the basic in human, which has nothing to do with staged perfection, but rather with irrational impulses and irreconcilable paradox. At most, beauty in ´being human´ unfolds when weaknesses become strengths, when ruptures make the whole, when betrayal opens the door to freedom, when loss becomes the gate to abundance, when I find myself by losing myself, etc.

Since we are all human, we can remember (that we are like that too) and empathize and accept ourselves (and others!) even in our (their) 'ugliness', 'despair' and 'failure'. That makes life truly valuable and remains as a valuable experience, even if any material value has long since disappeared.





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SIDE NOTE: -------- 'Paper Moon' vs. 'Pale Moon' ----------

The original title "Paper Moon" was for the international title particularly changed from "Paper Moon" to "Pale Moon" in order to create a certain degree of selectivity from the Japanese original. The story may be remade, but it's retold in characteristic korean-style. Successfully so. And if you like, the changed nuance in the title already testifies to a finely nuanced, additional facet within the KDrama production.

The term "PAPER MOON" refers to a fake, oversized crescent made of cardboard, which became fashionable at the time, with the advent of photography, as a specific variant of (cheap but effective) portrait background. At fairs, etc., photographers as a special gag offered the cheerful visitors unforgettable portrait photography in front of an artificial crescent moon made of cardboard. The happy couples (but also everyone else who had their picture taken) floated optically above the clouds, removed from everyday life, yet oh so close to the (artificially fake) sky... A reMINDer, documenting a very special moment.

Since then, the meaning of the ´paper moon´ generally refers to an object with the help of which a void is filled with fictitious, purely optically reality – a make believe. However, the emptiness is still there. The symbol, enriched with meaning, inspired many a great work. One of them is the piece of music "It's only a Paper Moon" (originally "If you believed in me"), which summarizes the basic idea or the basic feeling in a striking way - as a tightrope walk between hope and hopelessness...

"Say, it's only a paper moon
Sailing over a cardboard sea
But it wouldn't be make-believe
If you believed in me

Yes, it's only a canvas sky
Hanging over a muslin tree
But it wouldn't be make-believe
If you believed in me

Without your love
It's a honky tonk parade
Without your love
It's a melody played in a penny arcade

It's a Barnum and Bailey world (=circus attraction)
Just as phony as it can be
But it wouldn't be make-believe
If you believe in me"

...The unreal reality, the deception, the lie, all of this could be true if only one can convince the others that it is so.


"PALE MOON" on the other hand refers more to the real, pale (full) moon in the night sky, which is repeatedly staged in this KDrama. It's not dazzling like the radiant, all-illuminating, blinding sun, and not loud and spectacular like fireworks, (and not as big and dominant next to me as a paper crescent moon). The pale (full) moon only shimmers in the dark hours of the day. It may light the way and also cast shadows, yet from my perspective it is just tiny and far away.
Nevertheless, despite appearing almost fragile and delicate, is solidly stands there like a vague, quiet, soothing reminder of something truly beautiful and valuable. Something that is there repeatedly, with beautiful regularity - remaining, just being, no matter what. Something to relate to. Far away it may be, yet emotionally quite substantial - and thus close to the HEART.

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You can look forward to a spicy mixture of fun and seriousness

For all the law-and-order series that the KDrama Orbit has so far produced in 2022, Law Café romps on the more witty, hilarious rom+com side. A web comic served as a template.

Nonetheless. For all its playful wit, it is also a production that has its serious moments as well. In the background wafts an ugly (as usual) Jaebeol mess at the expense of the honest simple people. In the foreground, the protagonist fights for the rights of ordinary people with a lot of passion, intelligence, courage and the active support of old and new friends as well as her (after all) love interest. The legal cases dealt with are close to everyday sorts of topics and provide an up-to-date overview of perennial issues such as bullying, child abuse, sloppiness in construction, etc.

The idea of ​​setting up a Law Cafe away from the usual law firm business is unique. There visitors can get professional legal advice in addition to barista coffee in a comfy atmosphere. All of the characters are originals, and their quirks and idiosyncrasies are cheerfully staged here and there. You can literally feel the underlying comic.

The focus is on the 'four-dimensional' personality of Kim Yu-ri. (4D in Korean standards means a particularly eccentric, freaky, quite special character. 4D is generally considered a compliment, especially in the teen and KPop milieu.) She meets the ingenious, former public prosecutor Kim Jeong-ho, her school friend from back then and also son of a rich family. He lately indulges in idleness, enjoys his life in tracksuits - as a writer and real estate owner. There's some harmlessly sweet, romantic flirtation of the Korean decent kind, but also concentrated intelligence and creativity in solving some intricate cases. The evil, powerful business bosses and their crazy doings find an appropriate expression in the phrenetically perfidious, exalted, almost insane boss of the Dohan construction company.

Bottom line: You can look forward to a spicy mixture of fun and seriousness. To a love story. To a cast in good mood. To lively entertainment. However, I have to admit that 2 (sometimes 4) episodes a week was quite enough for me. I could easily wait for the new episodes. Thus, I wouldn't call the KDrama gripping. It is rather shrewed and witty in places. Rather harmless. However, it is not completely banal.

Overall, special care was taken to ensure that everyone in the audience understood the seriousness of the legal cases being dealt with. The deliberately sincere, almost missionary approach to e. g. the topic of sexism and "Yes means Yes" is remarkable. The KDrama obviously wants to be more than just good entertainment. And I think that the production succeeds in this mission quite well: A rom+com K-Drama, derived from a comic, that gently but firmly grabs society by the collar, in a good mood and optimistically presenting creative ways, how despite all the existing corruption business surrounding the machinations of the powerful, justice could actually be possible. It wouldn't be due to the law, because that would at least actually be available...

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Solid crime drama! Gripping! About an aged, cynical cop struggling in a dark, grim man's world

"Shadow Detective" offers solid crime thriller quality at a high level - gripping, dense, with South Korean Look&Feel!

As a Disney production, the series was produced explicitly for the international streaming audience. Accordingly, within compact 8 episodes the KDrama presents itself rather slim in terms of some characteristic dramaturgical, Korean-style storytelling elements. Nevertheless, a profound script, the committed cast and witty camera manage to create an enormous intensity and three-dimensionality.

"Shadow Detective" takes the audience firmly by the hand. The story does not have to come up with an excess of violence (as is so often the case with international, more masculine orientated streaming productions). I should mention, though, that it's primarily about older men in a man's world - and it's rather dark, grim, cynical.

Against the almost self-evident background of an almost unassailable, corrupt shadow world, the story focuses on the protagonist's inner struggle to do a reasonably good job as a detective despite the ailing system (... and to cope with aging).

Another season has already been announced.

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I consider the acting performance in "Room No. 9" as it´s true highlight

Another KDrama about revenge? Not quite. Ok, it´s about injustice done in the past. Yet, it´s rather about the desire for official recognition of innocence, let alone the unjust verdict - as reconciliation with fate. Revenge is secondary. I would say, that is good news. The protagonist is more concerned with her own peace of mind than primarily with new suffering that she in turn has to inflict on her perpetrator. She doesn't want to keep turning the wheel of fate, she wants to stop it.

Yet once again, being stuck in the past is a driving force: in this case, the protagonist sits in prison awaiting execution - for decades. ----- SIDE NOTE: South Korea has in practice stopped using the death penalty, but all legislative initiatives to officially abolish the death penalty (most recently in 2019) have so far failed.

Dramaturgic maneuver with magical components: a body swap. The motif is not new to KDrama. Although the personalities in the body are now different, the bodies themselves still have their cellular memories plus the environment inevitably remembers the person originally owning this body. So there is lots of room for funny situations - although they are always solved humorously, they are not slipping into farce. The story is serious and touching, but also playfully told. Laughter is allowed. A teardrop here and there, too.

I consider the acting performance in "Room No. 9" as it´s true highlight: Kim Hee-sun and Kim Hae-sook manage brilliantly to unite the characteristic aura of the other and thus perfectly embody the switch. They are marvelous to watch. And it's a pleasure to see the experience in the body of the other person has a transforming effect becoming a new (cellular) memory...

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Richly layered. Excellently staged.

"Melancholia" is silently impressive. If you're just looking for a sweet romance, you'll be disappointed. Still, the story is a tribute to love. It's also about school, education, South Korean madness about education and the market around it, the arrogance of the top 10 percent of society, as well as bullying and intrigues for optimal certificates. Altogether it´s ambitious in several respects.

"Melancholia" is about the love for mathematics. Mathematics is for the protagonists what notes are for music lovers or colors for artists: a way to capture and express the beauty behind the beauty of life and the aesthetics of life on this planet. In "Melancholia" there are two people (and actually two more) who recognize this beauty with their mathematical 'sense organ', feel it deeply, understand it, and want to delve even deeper - thus see and meet each other and understand how they feel inside.

"Melancholia" refers to "Melancholia I" - one of the three master engravings by Albrecht Dürer - mentor and student look at it together in the context of the story and communicate about it, understand it, and doing so get closer. The Dürer artwork is an allegorical composition peppered with geometric elements and symbols. There are a wide variety of interpretations in the professional world. The two protagonists in the KDrama are inspired by this and enthusiastically help interpret. In connection with "Melancholia I" by Dürer, his sentence "But I don't know what beauty is" has also been handed down. This creative crisis, through which every creative person (whether mathematician, artist, etc.) has to go through at some point, is processed in the KDrama in its own way - in the first half the male protagonist and in the second half the female protagonist is struck by this question. Individually both are thrown off track and have temporarily lost sight of their joyful creative power. They inevitably stand in the face of melancholy - to some extent a dark, black tunnel, that opens up the passage to a new, luminous dimension of their creative power.

With regard to the student, the first half of "Melancholia" focuses on a variation of Weltschmerz, which is at the same time an expression of suffering from the beauty of the world. The protagonist can't help but see this perfection of aesthetics in everything everywhere. And yet he is alone in this. He cannot convey his perception, cannot share his experience with his fellow human beings. That's way too high for the others. Family, friends and even some teachers cannot relate or really understand what he is about. Some of his classmates may misunderstand him as a show-off and envy his genius. In fact, he suffers from the loneliness in which he is stuck. Not the beauty of the world. Yet all this changes after he meets a mentor who in the face of his 'brilliance' isn't (like many others) out for her own gain. Rather, she recognizes his rare ability of perception and gives it a grounded direction. She did not promote the genius, but the human being, who should not exploit his talent, yet learn to enjoy it. The mere experience that he is not alone with his way leads him out of his suffering. This is how he finds his place in the world and no longer has to withdraw and hide from it.

However, "Melancholia" also shows the mentor as she herself is stuck in an aloof, depressive phase. The motive is the same: also lonely, isolated, trapped in her feelings that she cannot share with a world that cannot understand her. And this time it is her student who can remind and encourage her to step outside and back into the world.

"Melancholia" is a hymn to higher mathematics, with which the beauty of life finds an abstract form(el) - but also to art, which tries to aesthetically translate the formulas and mathematical knowledge into new colors and new forms.

"Melancholia" is a homage to the love between two kindred spirits who recognize each other in their kinship and can't help but love each other (selflessly and unconditionally).

But "Melancholia" is also one of many stories in the shade of a brutal South Korean education industry that unscrupulously rides on the hopes, fears and worries of parents and students and repeatedly bears the bitter fruits of bullying, abuse, meanness, despair and fraud produces. In this context, a variation of it is once again told in an exciting, at the same time moving and excellently staged manner.

Finally , this story of the two main protagonists is both a new edition and a contemporary free reinterpretation of the relationship between of two historical mathematicians: the Tamil Srinivasa Ramanujan and the British Godfrey Harold Hardy. The KDrama refers to the extraordinary, intuitive mathematical skills of the historically real Tamil math genius, who was professionally recognized and promoted by the British Hardy. In 1913 Ramanujan came to England under the wing of his mentor and subsequently became known for several important discoveries. It is said that when asked what his own greatest contribution to mathematics was, Hardy said without hesitation that it was (his mentoring for) Ramanujan. He described their relationship as his only romantic experience in life. And with that he refers first and foremost to the very special form of eroticism of their shared, highly concentrated, soaring flights of intellect. Anyone who has never had this experience of a shared 'Eureka' will probably struggle with the romance aspect of this KDrama. Everyone else might experience it differently... .

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A man and his personal story of greed - leading into the repulsive quagmire of a corrupt network

In 2017, "The King" is among the top ten movies in South Korea. The story is a prototypical example for a few extremely powerful men(!) manipulating crime, business & politics within South Korean society. In an idiosyncratic style, the movie conveys an insight into an repulsive quagmire of corrupt networks that run through all social classes. It is about the particular imbalance in the realms of public prosecutors and judiciary, which in the 1990s and 2000s was still massively determined by bribery.

The protagonist tells his personal story of greed (it is always people behind a system...) This is about his climbing to the top and the correspondingly deep fall. He accompanies the events from the off while the story unfolds before the eyes of the viewer in trenchant, impressive scenes. At first, you have to get used to this particular style, but the acting, pace, rhythm and camera nimbly catch the audience by the hand and won't let go until the end.

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Although ´makjang´ was taking it almost over the edge of the bearable, I had to stick with it

A classic among KDramas. The dramaturgical moves may sometimes be predictable - the evil stepmother and such... However, there is this passionate play of truly dedicated actors . ...and a groovy interpretation of Ave Maria, that burns mercilessly into your heart and ear. Although makjang (Mean! Bitchy! Malicicious!) was taking it almost over the edge of the bearable, I had to stick with it. Some scenes still have an impact on me years later.

Human abysses are presented in abundance. In addition, dealing with different facets of true love. An unforgettable piece of KDrama, for those who can never get enough drama. Here you can emotionally let off steam on the backs of the protagonists. For everyone else it might be a bit too much in some places.

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Suspense-packed. Elusive. Tough - KDrama shows us a poker face in several ways

"Insider" grabbed me from the first minute. It was exciting and unpredictable, fascinating regarding the world of card gambling and convincing with a consistently top-class cast. The story is knitted around the ever topical issue of corrupt South Korean society. You will not find good and bad in the classic sense. Dark shades of gray on the gloomy side dominate the picture. The focus is on the sobering practice of substituting compromises for morale. And those who are not willing to compromise may experience violence. In this context, the KDrama is also brutal on a high level.

Can one person change the predicament of a corrupt society? In recent years, the KDrama has conspicuously often asked this question. Here the son tries to do the same as the father and at least tries... because: if you don't at least try, then nothing can change. So he wants to go to court and do his part there to ensure justice. Also undercover, if it may help. The question remains: Can one person change something about corrupt social structures? Does it help when illegal activities are uncovered? Or will everything in the end remain as it was, since new characters simply fill the vacant roles?

"Insider" focuses on the networking of politics, criminal prosecution and specifically institutionalized criminal organizations. Democracy has practically no chance in the face of these almost overwhelming networks that decide in the background and create facts. It's bitter to see. In particular, the handling of the law, which appears to be swung almost like a sword in the interests of the powerful, thus relentlessly destroying any hope of justice for honest people.

In this respect, "Insider" is more of a pessimistic story. I admit that I'm ambivalent about this overall quite brutal KDrama. It's repulsive but fascinating at the same time. The story ruthlessly unfolds its impenetrably entangled threads. It tells of outrageous machinations of the powerful and infernal manners in prison. Also about being mercilessly dependent on oneself. It tells of the desperate attempt to avenge injustice.

The dramaturgical leitmotif running through all of the 16 episodes is quite concrete and also symbolic: the impenetrable poker face. Illegal gambling with cards dominates "Insider" from the first minute to the end. Especially at the beginning, the card game itself is in the foreground. As the series progresses, the viewer's perspective shifts to the meta level of casino management and what may be attached to it. But who is up to something here and who is on the side of the protagonist remains unclear until the end. Who or what should you bet on? KDrama also shows us its poker face and simply plays its cards unperturbed - one episode after the other, until the end.

In my opinion, the permanent increase in tension during the first 8-10 episodes, which are mainly focused around prison-life, is like a permanently increasing climax - and the most impressive (yet challenging) part. After that, the actual revenge campaign can only lose. Not because it is not also based on a high level of quality, but simply because this permanent increase in tension cannot be continued forever. In the meantime, the audience has so many open plot threads in their hands that they now want to be resolved before they completely lose track (and interest).

Kang Ha-neul as main lead is incredible. He embodies the difficult process of change in the personality of a highly motivated young trainee at court who involuntarily has to get to know the dark end of society up close. If he doesn't conform and play by their rule, he won't survive. However, if he survives in this dark parallel world, he can never be who he was.

But everyone else around him also keeps up the intensive field and contributes to the convincing overall performance. I was particularly drawn to Kang Young-seok, who practically excelled alongside Kang Ha-neul in the first half. It's unbelievable how he manages to embody the worst merciless willingness to use violence on the one hand and yet still somehow is able to win sympathy on the other. A strong, unforgettable performance!

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Captivating spy thriller, intelligently questioning the philosophy and ethics of secret services

"The Veil" is a really exciting, all-round first-class KDrama in the secret service milieu. The world of spies, the unconditional obedience to orders and professional ethics as well as the swampy terrain surrounding ´right´ vs. ´wrong´ / ´good´ vs. ´evil´ is not only extremely exciting, but also multi-layered and downright critical. (With "Moebius: The Veil", the makers provide background information on some of the central characters of the series in an equally gripping 2-part prequel.)

At the center of the "The Veil" is an excellent agent of the National Intelligence Service (NIS), who suddenly reappears out of nowhere one year after his mission had gone wrong. He has no memory of the past year whatsoever, but is determined to find the cause of failure at that time.

The international title of the KDrama refers to the veil of the protagonist's memory that is lifted in the course of the story. At the same time, it also refers to the veils within the NIS behind which many secrets are kept hidden, and what happens when someone wants to lift them. In the original, however, the title is translated "Black Sun" and refers (no less symbolically) to the phenomenon of the solar eclipse.

MBC spared no expense or effort in the production of "The Veil". With this series, the station is celebrating its 60th birthday in 2021 in a successful way that is well worth seeing. Not only excitement and action are guaranteed, but also an intelligent story that is up to date. (See side note below.) The gripping script is multi-layered with numerous characters who repeatedly move back and forth between the poles of good and evil - eventually, in this intelligence service profession it is neither clear who is who, nor is it unambiguous why...

The overall first-class cast has proven itself altogether through their strong, convincing presence. Namkoong Min in particular gives everything here. He is hardly recognizable compared to e.g. "Stove League" from 2019. For "The Veil" he had trained intensively and gained 10 kilos of muscle mass. He impresses with his powerful physicality, which gives his role even more weight. In that sense, he also performed all the stunts himself.
(Apropos stunts.... this KDrama has its bloody, brutal side, too... for some it could be a bit challenging at times...)

Right down to the camera, light and music, everything is of the highest standard. Since both the characters and the story are so sophisticated and complex with many details, the KDrama is also suitable for re-watch - even if you know how it ends...

"The Veil" is a captivating spy thriller of international caliber that intelligently questions the philosophy, mission and ethics of the secret services from multiple angles. The story also deals with recent history and political past, with present and future ´NIS´ of South Korea.



------------------ SIDE NOTE: --- political/historical context of the NIS ---

The NIS has only had this title since 1999 - and not anymore since July 2020, to be precise. (The story is from 2018 though.) The history of South Korea's intelligence agency is paved with some abuse of power over its own people on South Korean soil.
The South Korean intelligence service originally goes back to the KCIA (Korean Central Intelligence Agency) from 1961, which General Park Chung-hee had initiated. The responsibilities included overseeing and coordinating both international and national intelligence operations and investigations by public and military agencies. The power to get involved in political events (unsolicited and without permission) was correspondingly great. With all this, the KCIA is also one of the elite of Asian secret services in terms of the demanding training.

Following the end of the military dictatorship by General Park Chung-hee, who was assassinated in 1979 by the then head of the KCIA, the KCIA was purged and operated as ANSP (National Security Planning Agency) from 1981. Their most important tasks included spying on North Korean activities and, for example, the suppression of political activists of the pro-democracy movement in their own country.

In 1999 ANSP became NIS. For its part, the NIS actively intervened in domestic politics in favor of Park Gyun-hye (daughter of the former dictator) during the presidential election in 2012, prompted by the head of the intelligence service, Won Sei-hoon. In fact, that NIS campaign against Moon Jae-in resulted in him narrowly losing the election. Meanwhile, Park Gyun-hye has been in prison since 2016 on serious corruption charges, and Moon Jae-in has officially been in office since 2017 (-2022) as the 12th President of South Korea.

In 2020, the government, the presidential office and the ruling Minjoo party agreed that the state secret service NIS should stay out of domestic politics in the future. In connection with corresponding reforms, the NIS was renamed "External Security and Intelligence Service". Illegal actions by secret service employees, abuse of power or interference in domestic politics will from now on be subject to severe penalties.

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The main focus is not primarily on the action but the intervals. Intimate play. Highly committed.

The story is told quite sensitively, calmly, just a few dialogues. It is almost studio theatre that relies on the two main protagonists and thus on the haunting performance of Bae Yong-joon and Son Ye-jin.

´He' is typical male, who feels like he owns the world - and now being confronted with his pride being hurt , whereas 'she' represents everything that makes a "good" wife: devoted, caring and - in case of doubt - convinced that she herself is to blame. However, for both of them as their former worlds fall apart their encounter sets processes in motion. They start questioning their lives. Quietly the chance for new orientation, for a new self-image and changed standards when it comes to relationships open up.

The title "April Snow" refers to the fact that the two protagonists love different seasons: he loves winter and she loves spring. Snow in April thus symbolizes a bridge that leads the two together. In the original, however, the title reads something like "Excursion" and refers to 'his' wife and 'her' husband who, as part of their affair, go on a secret trip on which their serious car accident brings everything to light...

(At first the story somehow reminded me a bit of the US movie "Random Hearts" from 1999. The KMovie "April Snow" from 2005, however, is not a remake, just a similar story.)

Yes, it is not a funny movie. Yes, it is intimate play on high studio theatre level. No effects. Just intense play. The main focus is not primarily on the action but the intervals in between. It´s different. Highly committed. Intense.

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Showing simple normalcy for generations of SK women being gagged&bound by society's endemic sexism

"Kim Ji-young: Born 1982" puts every die-hard Korea fan through their paces: how far does the love for country and culture actually go? The KMovie also does away with any illusion surrounding romanticized and socially idealized yearnings that revolve around the concept of 'in love-engaged-married-happy family'.

"Kim Ji-young: Born 1982" broke the 2 million mark worldwide as a bestseller (by author Cho Nam-joo). It is also considered the most borrowed book in two consecutive years after publication. The KMovie was also extremely successful. In South Korea, between October 2019 and November 2020 around 3.6 million people went to the movies to watch. In addition, numerous prizes were awarded throughout Asia.

Calmly, unagitatedly and almost objectively distant, the camera focuses on the ordinary life of a typical South Korean woman, wife and mother in her 30s. Actually, she doing quite well. We accompany her in her everyday life between laundry and kindergarten, with her (actually quite attentive, loving) husband, with her in-laws, with her family of origin, with friends, with flashbacks of her childhood and at work, and finally with the therapist. This could all be any live of many a South Korean woman. That's not special at all. It's so cruelly normal that it even hurts. By showing simple normalcy, the story also becomes an outcry for several generations of women gagged and bound by society's endemic sexism.

Gagged and tied up by such a conservative, rigid, discriminatory socialization that is literally burned into flesh, so hardly anybody even considers alternative role models and self-images. There is a lack of role models that give women something like self-love and self-confidence that go beyond identifying with role expectations by family and society. Women somehow grow up as prisoners of those restrictive expectations - in a prison with doors, that technically are not closed, yet in practice barricaded by the mercilessly experienced sexism since early childhood. Accordingly, there is a lack of awareness of human dignity beyond gender roles. For women and men alike. And as we all know, such awareness would be the first path to any change...

In this respect, "Kim Ji-young: Born in 1982" holds up a merciless mirror in a calm, objective and non-judgmental manner, which focuses on the great evil that everyone simply takes for granted. Apparently, around 68 percent of cinemagoers were women. At least, the other 32 percent were men, supposedly.

In one of the last scenes, (which, like all the others in the film, gains its power from the simple, unquestioned und yet unbelievable normality) the underlying emotional muteness is finally allowed to speak up - not loudly and rudely though, but objectively subjectively and, despite all the justified anger, consistently in all modesty calmly, too.
In the face of the spilled coffee, instead of accepting the comments and accusations of her social environment with shame, concern and apologetic words, the FL has her outspoken objections. She eventually stands up for herself... actually, you should think, quite simply, as if it were a matter of course. And yet: downright unheard of. Because: Shameless in the best sense of the word... she no longer lets others shame her for what and who she is. She is slowly but surely developing a somewhat healthy approach to her own self-confidence as a person with self-worth and self-love beyond gender - a person who cannot be reduced by tradition to just a family concerned role concept within a hierarchical society. From this, the FL nurtures a new attitude towards those who traditionally believe they have more value in the social ranking.

Just a comparatively small, handy book; just a two hour movie. The story of Kim Ji-young, born in 1982, has sparked a lot of discussion throughout South Korea. The common, everyday (South Korean) madness shown knows how to touch and quietly infuriate. For me in faraway Germany, too, the KMovie wasn't boring for a minute.









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--- Outlook ---

'If everyone would act up like that... where would we end up?' - In this sense, the book and the film also led to a horrified outcry within conservative circles in the country. The main actors in the KMovie, for example, had to endure hateful comments for even taking part in it. Just this factual inventory of normal madness of just about every woman in the supposedly modern, innovative South Korea got conservative minds going...
...on the other hand, women affected finally received the balm of cross-class compassion, which for a moment opened up the space for solidary, cross-generational sisterhood. As insignificantly common and simple as Kim Ji-young, born in 1982, may be, the social impact was equally great - the consistently overlooked, completely disregarded reality that has been systematically carried out for countless generations out of principle and tradition, discrimination against (in this specific case) South Korean women.

South Korean society is already shrinking. Earlier than expected. And much faster than expected. No wonder.
Women born in the 1980s by now increasingly began to feel painful about their corsets. A milestone!
Those who were born in the 1990s and 2000s, some among them started to increasingly openly dare to actively shake up the social corset - simply by no longer accepting their 'certain' female role. Another milestone!
However, there is still a long way between shaking up and breaking out or even redefining. Eventually, women can only take this step together with men, who also urgently need to work on their role models, their attitude towards women and a new social self-image. Only then can the shrinking of South Korean society be stopped - a shrinking that, in my eyes, is an expression of a massive imbalance between innovative, turbo-capitalist high-speed in the global fast lane on the one hand, and an ignorant, sexist conservatism on the other, which acts like a lead foot screwed onto the brakes. Nevertheless, growing forces are apparently pushing for an urgently needed, integral, truly progressive transformation of existing values.

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A bit weird and edgy, yet refreshingly and unashamedly honest about what love life also is like

"LTNS" (Long Time No Sex) starts off where other series usually end. TVING doesn't care about age ratings. “LTNS” is unusually explicit for a KDrama. At the same time, “LTNS” presents itself as a pitch-black comedy with venomously satirical overtones. Be prepared for an edgy series that is refreshingly and unashamedly honest about what love life also is like...

If desire in a relationship has been turned off over time by habit and everyday worries while instead alienation and disinterest are creeping in... what should you do? The protagonists unexpectedly find an almost absurd option to bring some excitement and “we”-time back into their relationship. With detective zeal, they set out to blackmail those in whom the fire of (actually forbidden) desire still burns happily... and in doing so, they thus try to create a (almost criminal) virtue out of their own need, so to speak.

"LTNS" has fun with scenes that convey uninhibited sexuality one moment, but are completely unerotically thwarted the next. It is somehow down to earth in a most peculiar way. Bedroom stories are being told here that we haven´t been waiting for. All of a sudden such a certain mood for certain hours is eventually collapsing like a house of cards due to a mishap or unexpected incident... A "Bravo!" in this context to the actors, too!

“LTNS” promises a special kind of bizarre, weird series delight with plenty of potshots at the mendacity concerning certain facades of a solid and sincere love life and family life that are usually and preferably presented to the outside world.

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