unterwegsimkoreanischenD

Even though what happened is unfathomable, despite all the tragedy, the deeper focus is on hope

A true story. Not the only one of this kind, unfortunately. This one took place in South Korea in 2008 and was filmed in the KMovie "Hope" in 2013. (In the original: "Wish" - the meaning of "Sowon", the name of the eight-year-old protagonist.)

This film production, which was shown in neighboring Asian cinemas, too, achieved great success largely through word of mouth. The story is shocking and touching, while the film adaptation laid its focus less on exploiting the crime itself, than on sensitively dealing with how it affected the little girl, her family, friends of family and classmates. It's less about the incredibly unscrupulous, brutal act than about the family's struggle to continue to come to terms with the unfathomable and the consequences on a wide variety of levels - psychological, physical, social, financial, legal, media-related and everyday practical.

“Hope” received quite some film awards. Despite all the heartbreaking tragedy, the KMovie deliberately intents to touch people in a positive sense. The KMovie wants to open up an, nevertheless, optimistic perspective towards a life 'after'. This, obviously, is tough and challenging. Surely it takes time and even more patience. Heart-rending in this context, for example, is the wonderfully authentic portrayal of the massively threatened father-daughter relationship. Unexpectedly, though, some light comes into the darkness. Sol Kyung-gu - in the role of a desperate father, whose daughter is in danger of slipping away from him due to her terrible experiences – apparently did not take off his distinctive costume throughout the entire shoot in order to maintain high contact with the emotions and their intensity the whole time. And Lee Re, in her debut on the big screen as an eight-year-old daughter, also touches the heart, as does Uhm Ji-won, who initially apparently didn't have the courage to take on her role of the mother. She is also deeply touching with her convincing acting that gets right under your skin.

Even though, what happened is and remains unfathomable, despite all the tragedy, the KMovie explicitly focuses on hope. This way, throughout those 122 stirring minutes it is not all grim all the time.














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SIDE NOTE: --- The Cho Doo-soon case ---
The story refers to a rape case from 2008, when a drunken 57-year-old man brutally raped an eight-year-old girl in a public toilet in Ansan. Being as brutal as he was, the girl suffered permanent damage. However, the man (who before had already been convicted of rape, among other things) got away with only 12 years in prison. He consequently kept up his mantra, that being so drunk that day he couldn´t remember anything. This had already helped him in previous cases. Here too, he was given mitigating circumstances due to his age, the influence of alcohol and his mental state.

The rape in Asan was extremely gruesome. (The details were not in so much details explicit in the KMovie and I also do not want to waste any letter for them here, either.) Suffering from her internal and external injuries, the girl was hospitalized for eight months. She took an artificial anus back home. Medical treatment was followed by psychiatric treatment. A year later she was at least stabilized enough to go back to school. But even several years later in 2020, she apparently can handle harmless cartoons on TV only, avoids any news and tough topics, i.e. she is still extremely fragile and unstable when it comes to the issues involving any violence at all.

The investigation and trial in this case from 2008 didn´t get covered in glory. On the contrary. The public outcry was great and extended, among other things, to a petition to the Blue House for retrial. The case also led to a number of legislative proposals being submitted by the Democrats, which would, for example, suggest to imprison repeat offenders of sexual offenses against minors in special facilities for life, or e.g. concern the legal handling of sexual offenses committed under the influence of alcohol. But in the end they didn't go through, nor did various petitions.

Instead, the electronic ankle bracelet was the method of choice when Cho Doo-soon was released in 2020. The cost of continuous monitoring of Cho Do-soon's electronic ankle bracelet during the first 4 months after release only, was estimated by the Ministry of Justice at over 200 million won (over 140,000 euros). In addition, apparently 71 security cameras were set up specifically to protect Ansan's residents from Cho, who still has his wife and his home there…

By the way, the infamous Cho Doo-soon case was also topic in the K-dramas "Taxi Driver 2", "Voice 4" and "Vigilante".

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Anti-heroes. Down to earth. Authentic. Harsh. Compassionate. No Cinderella story, yet a love story.

I stumbled across this comparatively 'old' KDrama (2002) because of actress Gong Hyo-Jin. But actually here particularly Lee Na-young and Yang Dong-geun impressed me with their strong and down-to-earth performance. Once again I discovered a little gem of early KDrama art.

Rather tranquil. True to life. Authentic. No fairy tale. No Cinderella story. No power games of the mighty, but simple everyday life of anti-heroes. Yes, down to earth. Very. I was delighted. This KDrama - like "My Mister" or "When the Camellia Blooms" - is centred around a quite authentic, ordinary world. Not spectacular. Neither in action, nor in scenery. The story is also not about the rich, beautiful, successful people that are always welcome, but about those who are less noticed (in the media): about ordinary people who didn´t have an excellent education, yet earn their money somehow. It is about a world comparably most people unfortunately live in - about their worries, hardships and, if it can´t be avoided, illnesses, too.

In its centre: a young, inconsiderate, unwieldy pickpocket who is confronted with the diagnosis of brain tumor. It is about the people in his immediate environment: family, friends, girlfriends, police. About a love traingle. About choices in life. Reconsideration, too. That's not really 'exciting'. But touching. Unspectacularly impressive. A mirror of compassion and humanity.

"Ruler of your own World" dates back to the early days of KWave. At the time, this KDrama was not as successful (also internationally) as i.e. the productions of the "Endless Love Series". However, it was highly valued and appreciated in its own country for the authentic story (with comparably hardly in KDrama otherwise frequently elaborated makjang). "Ruler of your own World" is considered the ´best´ serial production of 2002 (vs. "Winter Sonata" as the most ´successful´ of the same year.)

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Offbeat! Complex! Intriguing! Not for every taste. Nevertheless, consistent in itself

“Perfect Family” presents itself in the now almost impenetrably dense jungle of the KDrama orbit with an idiosyncratic selectivity. The production, which is carefully selected down to the last detail, contributes to this, as the mimes, music and story are perfectly coordinated and prepared as a splendidly distinctive thriller soufflé. And it is rising so well! Perfect.




(I could actually leave it at these words. But for all those for whom that isn't enough...)

The Perfect Family? Does that exist at all? Or isn't that concept made up of a highly controlled lie? Doesn't the control issue inherent in (whatsoever) perfection rob family life of its air to breathe? There are those pretty clean and distinguished in pole position for life. And then there are the ones with the 'loser' card, rather daring and lost, provocatively repulsive. And yet, if you look closely, both are just human beings, with light and dark - neither just saints nor devils.

“Perfect Family” also juggles themes such as friendship and betrayal. (And then there's more to it - but especially with this KDrama, a spoiler would be downright fatal.) In its consistently calm pacing the 12 episodes stroll along by leading us on one wrong track after the other, thus keeping us hooked with our open questions.

Ultimately, the story revolves around what follows a sudden death. At the beginning, together with the young protagonist, we are stumbling from one nightmare of conflicting feelings and confusion into the next. Over time, the confusion seems to clear up. The conflicting feelings, however, remain.

All of this is musically framed by a selected mix of classic classics and plenty of cello, piano, etc. - on top of that there are a few enchantingly soothing songs as a tasty acoustic icing on the cake.

Offbeat! Complex! Intriguing until the end!
In terms of pacing and style ultimately not for every taste, though.
Nevertheless, consistent in itself!


PS:
With a progressive message about the correlation between perfection, family life and authenticity... rounded by the exemplary reflection of when it comes to one's own accountability...

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A shining little diamond! An extraordinary masterpiece that touches the heart in more than one way!

For all those who like three-dimensional life in movies and television. For all those who, apart from the clichés, are open to more complex relationships and personal development processes. For all those who want to get involved with a downright hopeless fate at the 'lower' end of the social pyramid. In this context, one should not allow oneself to be driven away immediately by punches and kicking. "Padam Padam... the sound of his heartbeat and hers" rewards with a touching love story that, by Korean standards, takes its place in an almost sensual, sensitive way.

I already got to know Jung Woo-sung in "A Moment to Remember" as an exceptional actor, enriching his encounters and relationships with an almost sensual dimension. That alone is a unique feature that contributes enormously to the quality of this KDrama.

Nevertheless, it wouldn't do justice to the story (which is wonderfully told in all instances) to reduce it to just a romance. It tells the story of an ex-con and his fellow inmate. It quickly becomes clear that Yang Kang-chil actually was innocent. And even after his release 13 years later, he is not free from that momentous act that he did not commit. Rather the real perpetrator would like to finally get rid of him for good, as he had witnessed what really happened back then. And others, too, have not forgotten or even forgiven what happened back then.

Kang-chil, on the other hand, would like to make amends for the lifetime that was unjustly stolen from him in prison. He's a simple, uneducated young man, now in his 30s, who only learned crafts in prison. His vita has taught him to engage 100 percent in the NOW. He may seem simple, yet he sees life in simple terms. However, he is quite capable of comprehending, of taking action and responsibility as well. He choses a simple, direct route. If he is happy about something today, then he gives room for this joy TODAY. Not tomorrow. And he doesn't have to weigh up whether it's ok to be happy or not. It's the same with anger. In short: he follows his heart. And there we are with the title of the KDrama: "Padam Padam". As onomatopoeia, it refers to the heartbeat (and takes up the title of a chanson by Edith Piaf of the same name).

------ SIDE NOTE --- Importance of onomatopoeia in the Korean language ---
The title "Padam Padam" also refers to the fact that the so-called onomatopoeia/onomatopoeia is of particular importance in the use of the Korean language - it is about eight times as important as in other languages. In Korean, remarkably often in narratives one can encounter the simple (yet acoustically imitated in a culture-specific way) onomatopoeic imitation of simple natural sounds. The list of everyday onomatopoeic vocabulary is correspondingly long. With this content communication is expressed more directly, more forcefully, more concretely and more immediately. "Padam Padam" therefore not only refers to the heartbeat - symbolic of the life that one wins and loses again, or for the feelings of the two lovers - but also to the special portion of 'directly conveyed, sensually experienceable feelings', which the protagonist places in all of his encounters.

A lot of heart and soul goes into the hand-picked production design, which also mostly wants to leave a consciously direct impression for all senses. (Mainly we are in the rural areas of the coastal region of South Korea.) The landscape, the sunset, the lake at night, the fireworks, etc. impress through a high degree of aestheticization. Sometimes you have the impression that you can literally smell the sweat of the well-trained young men... At other times some scenes are repulsive, ruthless, almost ugly - yet still highly sensual.

So Kang-chil is sensitive, but he's also a tough guy. He's not your usual appealing protagonist. He is peculiar, impetuous, impulsive, irritating, and also disconcerting. But he quickly grows on you in his sincere, direct and sensual way. This is actor Jung Woo-sung at his finest. His female film partner Han Ji-min can't resist the intensity that emanates from him either. It's a pleasure to watch her being drawn into his spell. (Here I can expressly praise the chemistry between the actors...) And then there is Na Moon-hee, who once again embodies the bumpy, complex and yet emotionally real (South Korean) mother-son relationship in a three-dimensional authentic way. By the way, the men here are above all punching, kicking and spitting as if it were the most natural thing in the world. That may be due to the milieu in which the story is set, but not only. Even if it seems strange to the Western eye at times, the KDrama is authentically filled with life throughout.

The story finally offers a not inconsiderable special feature as an encore for its surprising developments away from your ordinary everyday life: a guardian angel (wonderful: Kim Bum with ponytail) .

An extraordinary masterpiece that touches the heart in more than one ways!

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"Il Mare" gently sprays its quiet magic as if through an atomizer.

"Il Mare" is the ´international´ title of this KMovie. However, the original title (rather being translated as "Across Time") does not refer to the place - a picturesque house by the sea - but to what actually happens there: a time-transcending correspondence. Strictly speaking, the letters are sent back and forth in a mailbox over the distance of 2 years. What an unprecendeted plot for a love story to be told in a truly unique way! This story became famous in America and Europe in the 2006 US film adaptation starring Keanu Reeves and Sandra Bullock.

Actually you shouldn't compare the two movies side by side, but most people do, so...
The South Korean original was made in 2000 and starred Lee Jung-jae, who was in high demand in South Korea at the time, and Jun Ji-hyun, who was just beginning her career. (Actually you can sense the difference in her acting back then and in her more recent productions. In the meantime she definitely has matured from a ´mere´ beauty into a spirited actress.) While the original shares the same plot as does the US remake later on, the South Korean version places more emphasis on the mood of the protagonists, stressed by using imagery, color and atmosphere. Accordingly, the South Korean original is characterized by less color saturation and less light than the US remake, as both protagonists - Eun-ju and Sung-hyun - are rather disappointed in life, taciturn, withdrawn. The loneliness and emptiness in the protagonists´ lifes is one aspect. The remote house by the sea something completely different. It might perfectly fit into the protagonists´ mood, but in addition it actually has quite some magic to offer: Besides framing and emphasizing the beauty of nature there is the dog as a harbinger of relationship and the mailbox as a bridge between hearts. Thus the overall sensitively told story slowly but surely fills with joy, smiles, laughter and increasingly radiating light.

The KMovie "Il Mare" gently sprays its quiet magic as if through an atomizer.

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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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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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Re. missing children: highly topical, soundly researched, superbly directed and masterfully acted

"Bring Me Home" is a KMovie full of raw reality and emotional impact that disturbingly brings you closer to present day human abyss.

Perhaps it would be appropriate to describe this KMovie as a fine study in the nexus between humanity and inhumanity, with the scales being tipped by human compassion. Life becomes barren, cruel, brutal and hopeless when this compassion no longer finds a place among people. But it makes a difference whether a soul has already left the human body and only a cold shell remains, which already lacks any human compassion. Or whether a soul is deeply injured and has only withdrawn far from a dazed body, but at the decisive moment, when human compassion seizes this body and reaches the soul, unexpected energies are mobilized and thus in a kind of holy anger fighting their way out of the pull of gloomy abysses. ...It is compassion that makes a difference in human dignity.

In any case, it is appropriate to describe this KMovie as a highly topical, soundly researched, superbly directed and masterfully acted study about the subject of missing children, or child abduction and child abuse in South Korea.

Howsoever I describe it, the bottom line is the same: "Bring me Back" is a thriller about (in)human abysses. The KMovie unfolds its haunting power through an almost brutal, unimpressed realism, holding up a merciless mirror to a society that seems indifferent to the disappearance of children. "Bring me Back" is a family drama. But it is also rigorous social criticism that explains the particular drama of one (of an alarmingly large number) of South Korean families as a disturbing general social disaster.

Yoo Jae-myung surpasses himself here as dishonest, repellent policeman without shame or sense of duty. Also fantastic: Lee Young-ae. She has already proven herself as an avenging angel in the KMovie "Sympathy for Lady Vengeance". At that time it was about vigilantism as a concept based on principle and planned for a long time. Here it's more of a reflex in the heat of the moment.

Heavy. Gloomy. Still recommendable.

P.S.
Actually, in 2020 (the movie is from 2019) there was a nationwide campaign in South Korea. At that time, 661 children had been missing for more than a year, 638 of them for more than five years. So that they are not forgotten, their faces have now been printed on a wide parcel tape, which is used by the South Korean Post and larger shipping services and can also be used privately. The faces were digitally edited and adjusted to look as they could possibly look today. The central information about their case was also printed on it. (However, I do not know whether this has contributed to the clarification of individual cases yet.)



---------------------------------- SIDE NOTE: --- Missing children in South Korea ---

Human trafficking is not a specifically South Korean issue. However, the continent of Asia is the undisputed leader with 7 countries among the 11 countries with the most victims worldwide. One might not expect South Korea to be at the forefront, but human trafficking is an alarmingly profitable business here, and the trend is expanding - regardless of whether it involves women and children who are exported or imported from abroad, or as Transit country for human traffickers from China or Russia. This is largely beneath the public radar. Public officials are often involved or bribed. In addition, most of the victims here are under the age of 16. This means that they are initially treated 'only' as runaways - this was the case in 80 percent of the solved cases. Thus, the police and authorities are not primarily in charge, but the parents. If the children are among the remaining 20 percent - the kidnapped or abandoned - then unfortunately they are unlucky that they are not searched for with the necessary vigor. At the same time, these minors are among the weakest and most defenseless members of society. They have neither voice, nor life experience, nor strength to really oppose the perpetrators. This makes them easy prey for a lucrative business.

In South Korea, over 99 percent of missing children are found within the first two days. That sounds like a lot. However, for the 1 percent of families who do not find their child during this time span, a nightmare begins that has already driven many parents to even commit suicide. It has been proven that the pain, the struggle with guilt and hope, does not stop in the years and decades that follow.

A figure from 2016: of around 38,000 missing persons reports, half were minors who turned up again within the famous 48 hours. 285 of these missing persons cases could not be cleared up. Among long-term missing minors (according to a 2014 case study), 65 percent were later found dead, and 46 percent of resolved child kidnapping cases revealed they were victims of physical sexual violence.

The statute of limitations marks another problem. As a result, parents often devote their lives to searching on their own, far beyond their means, since no one else will. They however can´t help but keep searching and hoping. They are more likely to lose their job, their social life, their health, or their own life. A 2006 study found that 40 percent of parents who missed their child for years or decades lost their job and spent an average total of around $500,000 in the search. (By now, that sum is likely to be a lot higher.) This includes the money that had to be paid to the number of false informants, or the travel expenses to travel to a potential location where a tip sent the parents. More than once, someone played a prank. Such cases are well documented. But there are also (fortunately) case histories of donors and supporters.

In South Korea, the legal activities relating to missing minors have been tightened again and again in recent years. But the results are still not what one might wish for. A government study from 2021 identifies acute further needs in all areas: from prevention to investigation and prosecution to officials training. Between 2015 and 2020, South Korean women and children were trafficked in increasing numbers. There are always accomplices among public officials, in particular the cooperation between human traffickers and police officers is criticized, which robs the victims of any last hope of help. By the way, in this context, fishing industry on the coasts is also expressly mentioned as a crime scene. Numerous cases of human trafficking and exploitation of workers whose working and living conditions are sometimes disastrous are documented.

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Cheeky, cheerful and heartfelt, drops of suspense included

“Knight Flower” is set in Joseon days, yet it is no epic, historical KDrama in a classical sense. It has endearing comedy to offer, the touch of a romance and even a touch of crime thriller, while the setting back then in Joseon is accounted for predominant neo-Cunfucian social ethics in those days. In particular, back then being widowed was bad news for women, whatsoever. (See side note). This circumstance is providing the hook for a cheeky and fresh-minded KDrama plot.

In "Knight Flower", the widow simply cannot get herself to merely spending the rest of her long life in honorable, virtuous seclusion, mostly invisible to the rest of the world, trying not to be too much of a burden to her in-laws, and otherwise mourning the deceased husband (whom she never actually met) in the afterlife.
No, this widow does her own thing. She is not interested in being reduced to the virtue of mourning. During daytime, her everyday life is that of a honorable widow and decent daughter-in-law. Yet, at night she is dressed in black, wearing pants and a mask, climbing over walls, jumping over roofs and helping the poor – as "Midam", a kind of Robin Hood of Joseon. Such is her double life. All goes well, until one day...

While the plot is drawing its dynamic appeal from the actually rather sad background of a dubious tradition of treating widows (not only practiced in old Joseon, and not only back then…), the good news is: "Knight Flower", as a production broadcast in 2024, is built on intelligent emancipation, too. What is called for is not compliant bowing, but rather self-confident, creative solutions in dealing with life. Obviously South Koreans are craving for such a role model these days. The show was quite a success. People there apparently enjoyed it. So did I.

"Knight Flower" is cheeky, cheerful, and heartfelt, drops of suspense included, thus with alluring wit offering an enjoyably entertaining genre-mix.








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SIDE NOTE: --- Yeolnyeo or Yeolbu, the virtuous woman of Joseon ---

A loyal subject can only serve ONE king and a virtuous woman can only serve ONE husband. This perhaps briefly summarizes the core of the moral teachings of the period between the 14th century and the beginning of the 20th century. Practically speaking, this implied a widowed woman could face death penalty, if she ever wanted to marry again.

Women had to be obedient to their parents and in-laws. They had to honor their husband. And after his death the eldest son had the say... The greatest asset of a woman, besides bearing children, was her virtue. And that was eventually all that was left, if her husband might have died before herself. There was even granted an official award for valuing outstandingly honorable virtuous widows with the reputation of being a Yeolnyeo or Yeolbu. Thus they had to be particularly determined with living as a commendable model wife even after their husband´s death – according to all the rules regarding morals and daily routines as set out in detail in the book about good conduct for virtuous women…

However, the pressure on widows to be respected as Yeolnyeo became excessive over time. At some point it was even common for widows to consequently take their own lives, too, thus expressing their praiseworthy being loyal to the husband until the bitter end. In this way, they could posthumously provide their family (or that of their deceased husband) an honorable glory of virtue in which all family members could bask. Eventually, suicide was even expected of a widow – especially if she became a widow at a young age...

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Sisterhood in a man´s world. Let yourself get both annoyed & inspired by politics behind the scenes

What a wonderful power show inside out politics. Yes, it's ugly and you might want to smash right into it. Often enough and plentifully. But it also has its heart in the right place. Repeatedly. Dealing with politics may make you doubt the meaning and purpose of democracy. But it doesn't get any better without those intrepid heroes willing to stand up for a better world. One may sometimes lose faith in something like a democratic gene in people. But one can always hope and fear. The game is only over when it is over. The election is not over until the votes have all been counted.

Stupendous women. On both sides of the front. And the men? Oh well. So and so. (And if many people complain about Lee Geung-young because of his scandal, he at least prefers to choose the role of the challenging guy, where one can wholeheartedly consider him disgusting...)

Well, I consider the sisterhood thing being the crucial message for me in this story. Yes, there are strong, competent women, who, against better female instincts, cling to old structures and customs - in the wake of the Jaebeol clan. Yet there are those competent, motivated, witty, loyal to higher ideals women, too, who are sharing those ideals with others and walking side by side. Even if tempted and seduced they still sense what is right and wrong and act on that when in doubt. Using and abusing (interchangeable lackeys) for personal gain vs. appreciation and recognition (of brothers and sisters) are very sensitively compared here as common HR strategies and management styles.

With 11 episodes (only), Netflix slips through the story fairly quickly - only the most necessary input about the protagonists are given. However, especially the actresses don't let the story rush past you. Kudos to (in this case in particular) the heart and soul of the Ahjummas and a storytelling that, while strikingly handling the political landscape for its stringency, nevertheless spreads the complex mixture of motives, hopes and fears in a well-sorted manner.

Does the end justify the means? This age-old question apparently never ages. "Queenmaker" makes you think, but also often leaves you terribly annoyed about the way things are. The KDrama makes you angry, demoralizes, and yet: at the same time it gives hope. Strong women, a strong story, an often enough an ugly world in which, however, once again each individual contributes to the fact that it could be one way or another...

Obviously I would recommend it - if you´re in the mood for something like that. And: obviously there are no Idols and no Love Story involved. People may die, but it is no crime story. It isn´t funny, either. Nevertheless, I would say, you should check it out and let yourself get both annoyed and inspired by politics behind the scenes.

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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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Sensitive and at the same time ruthless portrayal of child abuse and its traumatizing effect

"Miss Baek" is a KMovie about child abuse. Sensitively, cautiously and at the same time ruthlessly, it portrays the example of two 'victims' - a young girl and a grown up woman (actually also a man). It shows how the system prefers to helplessly look the other way, leaving the children alone in their family hell. It also illustrates how this traumatization affects their future lives, remaining trapped in their frightening dark history, still vividly present for the rest of their lifes.

Han Si-mi has received multiple awards for her performance as Miss Baek. But also Kim Si-a in the role of little Ji-eun is just incredible. And the rest of the cast and production, too. Also thank you for the consistently tranquil, unexcited simplicity as well as a to the point, no-frills narration.

Highly valuable. By the way, the story is based on a true event.




------------------------- SIDE NOTE: --- Child abuse in South Korea ---
The cane in schools has been officially banned in South Korea since 2010. However, thrashing at home is another issue. Among the cases of child abuse confirmed by the police, more than 80 percent can be traced back to the biological parents as the perpetrators. To this, add the dark figure. Accurate statistics on the prevalence and frequency of violence against children are difficult to obtain, since the police, ministries, child protection centres, independent agencies, etc. each compile their own statistics, which are based on estimated numbers.

Many South Korean parents grew up like that themselves ... and still belief that children are the extended selves of the parents, kind of - not individual separate beings. Social focus is not on the rights of the children, but more so on those of the parents. Upbringing is primarily the private affair of parents and not a matter of legal jurisdiction. In this context there is often talk of the "stick of love". In fact, many parents believe that thrashing strengthens their children's character while showing them how much they are loved.

In many European countries this no less than abuse. And fortunately there is a growing awareness of this in South Korea as well. In media representation again and again one encounters scenes of child abuse, e.g. in KDrama and KMovie. It is common. However, fortunately, it starts to be more and more common, too, that this kind of violence is being socially confronted as part of the storytelling... Statstically, the number of cases with serious domestic abuse being investigated by the police is increasing. Including cases in which parents abuse their children to death. This does not imply that child abuse is increasing, rather that more cases are being reported. An encouraging sign. It gives hope that the dominance of traditional (and often abusing) parenting concepts is slowly crumbling.

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It is about Sisterhood - with a deep connection transcending age and nation. Yet in a man´s world.

When watching KMovies, one stumbles across productions that are surprisingly quiet and told with comparatively few words. "Moonlit Winter" is one of them. A quiet road movie of a mother an her daughter enriched with pictorial symbols and allegories. Like a long cold winter night.

It's about the unhappy love between two young girls that wasn't allowed to be. (SIDE NOTE: To this day, homosexual love is socially outlawed in South Korea. Starting with the younger generation, a little more tolerance is creeping into society, but only at a snail's pace they are starting to find something like solid ground under their feet.)

It is about the (need for) reconciliation with the past. About shame, guilt and forgiveness. And about choosing yourself first. Self love. And then, strengthened in that, one can choose anything, including a relationship... even if it's a homosexual one that still is socially undesirable...

Intense! The list of awards is correspondingly long. However: The intensity could easily be missed, because the quiet, long winter nights are what they are: Long. Dark. Cold. If you don't discover the magic of the diffuse moonlight for yourself, then time can get pretty dreary and gloomy.

The cast fits the show. They are all radiating and keeping the intensity in minimalistic terms.

It is about women with a deep connection transcending age and nation. About Sisterhood!
Tender. True. Yet in a man´s world.

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An extraordinary mixture - a fresh, fast-paced breeze, yet profound and multidimensional

"Military Prosecutor Doberman" brings a fresh, fast-paced breeze into the swamp of army power tussle and its entanglements with politics and business. The power tussle in this context is not new per se. But here it is convincing in proven, sophisticated, high-quality KDrama style. The story is critically focusing on the ruthless games of the mighty with honest ordinary people. By the way it is also shaking the noble, idealized concept of family -just a bit in passing by. Yet above all "Military Prosecutor Doberman" is impressively processing, disenchanting and denouncing the often (even without actual front war!) psychologically cruel everyday army life.

As I mentioned before, the pace is quite high. There is cool talk and hip people. You´ll get action scenes as well. The soundtrack underlines the story pace with unusual hard beats and metallic sounds. But: nevertheless the KDrama wants to be emotionally profound and multidimensional. In case you consider that an imcompatible mixture, you're wrong. Here it works. And it's excitingly thrilling too.

"Military Prosecutor Doberman" creates an extraordinary blending. There is also a hint of romantic vibes. Just enough to round out the hard edges.

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If you´re only in it for the romance, than skip that one. This KDrama is actually so much more.

This is a family saga in cross-section. Typically, the list of the main actors only contains Lee Seo-jin, Kim Hee-sun and Ok Taecyeon. However, I think the whole family belongs here because family is the issue. Of course there is a romance (and not just one). However, sooner or later is always about family. And so "Wonderful Days" is the perfect KDrama to study family structures, dynamics and values as well as its impact on every day life in South Korean culture and tradition.

Family hierarchies, manners, customs and traditions are presented in detail. The setting for this is fittingly the traditional hanok, in this case a giwajib, a dwelling for a middle-class family. In "Wonderful Days" you experience family as it would like to be and family as it really is, behind the facade - with all its taboos and lies and secrets and flaws. The issues of disability, adultery and flaws of single parents are dealt with. The questions of who is allowed to marry whom and what that means for family life are worked through. Finally, it is also about pride, guilt, shame, reconciliation, forgiveness and emancipation.

I think actress Youn Yuh-jung rocks the entire show. The processes she goes through again and again are numerous and moving. In some places, where she seems very traditional and her decisions seem virtuous in the service of the family, she also turns out to be truly modern. She always makes up for her lack of education with a lot of heart and common sense. She is already a strong mother model. But at the same time she shows herself vulnerable and conveys very vividly that this mother role demanded by society is practically superhumanly difficult and actually impossible to achieve.

With the action location of Gyeongju, you also get a tiny glimpse of the historic Silla city in south-east South Korea. The grave-mounds of the Silla Kings provide a scenic background more than once. The specific, comparatively melodic Busan dialect that is spoken in this region is also acoustically striking in the dialogues.

This family drama, in which everyone works through their own inner and outer struggles within themselves and the family, is told in a compassionate, vivid and multi-layered manner along numerous storylines through the entire family. Accordingly, this 50-episode KDrama has more episodes than usual. You can indeed learn to understand how the individual in South Korea holds back for the family, or what strength one has to muster in order to protect one's self-interest against the (supposed) well-being of the family, especially the elderly. Self-sacrifice and the ability to suffer are a given - as if it were the most natural thing in the world. However, they are sometimes subtly and sometimes openly questioned. The quarrel is conducted within the drama-family, but inevitably continues in OUR heads, hearts and personal worlds, too. Thus, it is a sensitive socio-critcal study and a sophisticated scenario, for confronting South Korean audience with traditional values facing modern life in 2014. Perhaps it is also interesting to know for non-Koreans (in order to understand some other dynamic of the story): adultery has only been unpunished in South Korea since 2015, abortion since 2017. Before that, it was a crime.

Sometimes the family dynamics are almost unbearable from a western point of view. They may also seem exaggerated as far as our (I am here refering to ´my´ western, german) reality is concerned. The decisions of the protagonists sometimes seem to be incomprehensible. But then again - as far as South Korea is concerned - this is not exaggerated at all. These dynamics are real (but in good makjang fashion, they also add a bit more drama for good catharsis effect). In any case, for Western viewers those dynamics are instructive for studying the culture-specific value systems and, last but not least: occasionally also thought-provoking, too.

Ah. Don´t let me forget to mention... it is about a love story, too. Not only one actually. But if you´re in it for only this romance, than skip that one. You will be busy fast-forwarding most of the time - because this KDrama is actually so much more...

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