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Us walking along in those indifferent (?) shoes of Han Gong-ju is the great power of this KMovie

Among independent South Korean film productions, “Han Gong-ju” is considered one of the most successful to date. In fact, the number of viewers exploded within the first week - through word of mouth alone. In addition to this vote with feet, there were consistently positive (national and international) film reviews and awards.

"Han Gong-ju" offers relentlessly haunting independent KMovie quality, frugal, not easy to digest, yet calmly, subtly and sensitively told, too. Behind the seemingly indifferent attitude of the protagonist, highly concentrated emotional force blazes subliminally, which is released less in the protagonist herself than within the audience. By the way, the story is based on a true story. (More background below - but that's quite a spoiler... so if you want to watch the film, you might want to read it afterwards!)

The KMovie tells the story of the fictional Hang Gong-ju in a rather reserved manner. We initially follow the girl without knowing what it is about or what she actually has experienced. Over time we learn to understand, or better: vaguely guess what she was and is going through. Over 112 minutes we see and experience the world vaguely through her eyes. This is a great power of this KMovie. The girl´s everyday world is fundamentally threatening, unwelcoming and cold, almost merciless. Han Gong-ju herself is tough and clear, demure and mostly indifferent. (Hang Gong-ju may by now have learned to face her world with indifference, but we as audience? We may feel differently here and there…) Nevertheless, she also has learned to create islands in her life that offer at least some minimalist beauty, joy and perspective.

What happened and is happening to Hang-Gong-ju admits of no excuse. But unfortunately it happens everywhere. Not just in South Korea. Unfortunately, again and again, more and more often. *
The role of adults is also inexcusable. It is we so-called 'adults' who lay, or should lay, the foundation for a sense of justice in the upbringing of our children. However, in this story (and its true background) it failed spectacularly. On several fronts. The results can be considered rather grim.
As solid and reliable role models that 'we' adults are/should be: how do we actually relate to right and wrong? Parents who would rather protect their beloved children from the consequence of their (any) actions, than confront them with it – yes, that's understandable. But will the 'children' learn from their mistakes in the future (without any true feeling of guilt about having done something wrong)? So that they might not replay their misbehaviour in the future? Rather not. However, if everyone prefers to proclaim an exception rule for themselves (and their loved ones), that cannot work out well. So it always ends in fighting and stabbing... by any means.

The irony: For cinema and television this is actually quite wonderful, because thus there are always new, stirring stories to tell. In the case of "Han Gong-ju", fortunately the entertainment gain does not come from dramatically exaggerated voyeurism, but rather from the fact that we walk a part of the truly sobering track in those indifferent (?) shoes of Han Gong-ju. By doing so, clues putting the (difficult to digest) puzzle together accumulate...

Lee Su-jin's KMovie is consistently serious, unpretentious and at the same time convincingly authentic in the presentation of the protagonist. Chun Woo-hee in her difficult role as Han Gong-ju is also outstanding and masterly in this context!

















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SIDE NOTE: --- Events at Miryang Middle School in 2004 ---

Over a period of just under a year, at least 44 (but possibly more than 120) high school students repeatedly raped three 13 to 17 year old girls and filmed them in order to blackmail the victims. The gang rapes obviously happened as a purely entertaining pastime for the boys.

The first 14-year-old victim was blackmailed with the film recording to bring her younger sister and her older cousin to the subsequent 'meetings', who then also became victims of renewed gang rape. In addition, the victims were forced to pay so that the footage would not be published. There may have been even more victims.

As unforgivable as these actions are, dealing with them was even more unforgivable. After the girls' aunt reported the case, of 44 clearly identified repeat offenders, only three were initially actually arrested. Due to massive public pressure, 9 more were taken into custody and a further 29 were officially arrested but not taken into custody.

There were no serious consequences for the perpetrators. On the contrary, the victims became victims again! On the one hand, they suffered psychological damage during the interrogation due to insensitive, confrontational confrontations and verbally abusive male officers (even though the victims had expressly asked for female officers). On the other hand, parents tried to force the actual role of perpetrator on the victims due to provocative behavior.

Finally, the defenders pointed out that some of the boys are already about to enlist in respectable universities and would soon contribute to the shining future of the city. In general, the parents of the perpetrators managed to build up pressure in various directions and also helped with money to box their boys out of the annoying situation. Among the victims' parents, on the other hand, one father unforgivably exploited his daughter's predicament for his own benefit. Ultimately, only 5 boys were tried in juvenile court. Without serious consequences. They are now probably fathers themselves and are firmly established in their careers.


In the meantime, this and that may have changed legally (and also when it comes to investigating), in South Korea and Germany and in other countries, too. But still, in current cases of juvenile sexual offenses, to date a strong tendency among parents here and there is increasing to wanting to box out their loved ones by all means possible, regardless of the losses. Far too rarely is attention paid to reflecting to their sons (and/or daughters) when they in fact tremendously misbehaved, that, yes, they are still loved and ok, BUT THEIR ACTING IS NOT OK at all. As a matter of course they will have to face the consequences – as serious misconduct that the social community we live in does not tolerate.
… However, our problem is: 'we' obviously DO tolerate it... Over and over again.

Sadly, in this respect, the KMovie “Han Gong-ju” is as topical as it was in 2013.

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A grand historical, passionate and emotionally complex high quality drama

I´d say, “The Queen who Crowns” is an excellent, impressive historical drama that gets under your skin. An emotionally stirring KDrama of the finest quality against a historically real backdrop. The KDrama year 2025 could continue like this...

"The Queen who Crowns" brings the first decades of Joseon onto the screens. It is not the first series to take on the historically dazzling personalities of that time. Those early hours of the dynasty are simply captivating. And so, with this KDrama, too, it is not boring at all. On the contrary. And with an increased age rating, "The Queen who Crowns" additionally gains necessary freedom for an not only aesthetically impressive and emotionally impactful, but at times even unrestrained narrative.
However, it doesn't hurt to be somewhat familiar with the historical background. This makes it easier to understand the connections and relationship dynamics. Yet, enjoyment of the series is also possible without prior knowledge. Explanations in the subtitles fortunately provide the corresponding context here and there.

"The Queen who Crowns" offers a grand historical and emotionally complex drama. A special nuance is peeled out of the actual historical context, closely inspected, and dramatically excellently embellished: The complex and dramatic relationship dynamics of King Taejong with his father, the abdicated King Taejo, and his wife, the later Queen Wongyeong.







------ More thoughts about the relationships between former King Taejo, Prince Bang-won and his wife -------

"The Queen who Crowns" offers, among other things, a fantastic interpretation and performance of Taejo, the founder of the Joseon Dynasty. Lee Sung-min ensures we are learning to understand that the self-proclaimed first king of the new dynasty was not only a rather dominant father but a man who truly had great things in mind for his people. The path to achieve his new dynasty was indeed bloody, the power struggle at the turn of the 14th century not yet over, and life at the royal court dangerous. The now abdicated King Taejo, however, is convincingly shown to be torn between his archetypal ideals of a strong Joseon king and the very human feelings as an emotionally entangled father. Through his son Yi Bang-won as King Taejong of this newly founded Joseon nation, he painfully reflects how low human emotions can sink. Noble ambitious monarch and defiant despot, that can be so close together.

Actor Lee Hyun-wook acting historical Yi Bang-won gives the defiant king's son his very personal touch. As a son who desperately hungers for his father's recognition. As a man who would like to wear the pants in the relationship and cannot really handle to see that his straightforward, dominant wife is superior to him in terms of political calculation, overview, and foresight. As a spoiled prince whose frustration tolerance was never really trained, who ultimately confuses defiance with power, he is trying to enforce with ferocity what thus only slips away from him even further: the respect of the two most important people in his life – his father and his actually beloved wife. Bang-won as King Taejong proves to be no counterpart to whom they can trustworthy surrender. One can feel sorry for the king. And that says it all...

Before I get to the queen, who is actually given the stage here, I would like to address one thing that is also in the focus of this KDrama along the way: The crux of the archetypal relationship between king and queen in contrast to the relationship between king and concubines. For the king, he may have both, “saint” and “whore”. The queen however, is doomed to just being the “saint”. Hardly any other historical drama I´ve seen so far had processed the dilemma and explosive dynamics of such an archetypal, almost dehumanized relationship between king and queen so emphatically. While the king gets/takes his space for being a man with needs, too, the queen, as the mother of the nation, is per definition pure and saintly. It´s bad news, if king and queen should actually love each other. There is no room for intimacy and passion in the life of a king and queen. They live an ideal of relationship that stands solely in the service of the nation. Dehumanized, so to speak. Pure archetypes. Pairing between king and queen serves only the reproduction of royal genes. Furthermore the queen´s job is about raising this offspring properly. It is a public relationship and for the nation only. It has (should have!) nothing to do with personal lust and passion. In theory at least...
Nevertheless, the king and his concubines may share their private intimacy in their bedchamber – as long as it pleases the king. And in the case of our defiant, discontented, and somewhat emotionally lost King Taejong, he rather escapes to his concubines, who are willingly serving at his whim, with a warming embrace, a tender word. There he supposedly finds the most submissive subservience, the encouragement, and all that his father and wife deny him for different reasons. In the best case, it may truly nourish him and bring him into his power. In the worst case, he may be manipulated, and thus losing even more ground.

Now to Queen Wongyeong. Chapeau to Cha Joo-young! She gives that imposing historical personality such a strong, beautiful, clever, and quick-witted aura, portraying her as a dominant yet simultaneously sensitive woman, too. It's about time that this queen, who was only historically appreciated late, now also gets the deserved attention in the KDrama orbit!
King Taejong truly had a competent, intelligent, valuable partner at his side. At eye level. In the truest sense also above what concerns convention and customs. Thus, at the same time, courageous enough to take new paths, to think innovatively, and to act fearlessly.
But woe if the king thinks he has the power by virtue of his throne only. No, he must also be able to fill this position with respected personal authority. Most of the time, Taejong is trying to enforce power and respect with force. He truly lacks the necessary personal maturity for the nation´s highest office in many places... and for this great wive. What a shame.
Queen Wongyeong, in turn, pays a high price for her ambitious demeanor and constructive political influence at the royal court: her passionate love for the king, for which there is no more place at the court. But, at least, the queen does not let this stop her from making wise decisions and prudent politics. No matter how adverse the circumstances. Without her, Taejong's reign would ultimately not have been at all, let alone being so valuable for the coming Joseon. Without her, the country would not have experienced one of its greatest kings of the Joseon Dynasty – the following King Sejong, who created, among many other things, an alphabet for his people.

Those two, they paid with their personal relationship over the years of their reign. The KDrama does a great job in recognizing and dignifying their sacrifices, efforts and accomplishments.




Ps:
Episodes 13 and 14 "The Queen who Crowns - Before Sunrise" are a kind of prequel. They begin with the end of Goryeo. It is about our two protagonists meeting and falling in love, starting to dreaming their common dream of a 'better world'... and ultimately materializing it.
This may be well-intentioned, but the dramatic quality unfortunately drops somewhat compared to episodes 1-12. It almost seems as if this was a spontaneous decision in the course of events. Somehow it was done half-heartedly only (possibly under time pressure?). Nevertheless, some striking key scenes, referred to in 1-12, are delivered here, which is nice, though.

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This is the first time I would actually describe a KDrama rich in makjang in terms of ´cool´.

"Cain and Abel" from 2009 presents itself in the best KDrama tradition of early 3rd Millenium makjang productions. In the background, the OST is repeatedly setting the rhythm proclaiming doom with implacable beats. The dramaturgical motifs are basically familiar: there are 2 more or less competing brothers, a wicked stepmother, a comatose father, amnesia in the meantime, two queens of the heart ... and what the hospital environment (specifically the neurosurgical department) has to offer is not just a brain tumor... It´s makjang at its finest. Eventually the scene is temporarily shifting to China, there also focusing on the unfortunate issue of North Korean refugees. It becomes action-packed and exciting. All in all, the plot doesn't seem too surprising at first glance, but as it progresses you might all of a sudden realize, how the story has long since grabbed and pulled you in.

This is the first time I would actually describe a KDrama rich with makjang in terms of ´cool´.

Admittedly, here the bad guys are actually truely bad guys. Forgiveness is not a foreign word, but sometimes one may want to question this concept in principle, regarding the unscrupulousness and maliciousness of the perpetrators.

Title and story explicitly refer to the biblical motif: the first murderer case in human history told in Christian terms, where the older brother chose his younger brother as a victim. Out of envy. In the competition for recognition. Here it is the recognition as a brilliant neurosurgeon ... by the father, by the professional world, by the supervisory board (as head of a new center for neurosurgery) and as a man (by his queen of hearts). The mother wickedly helps and sows the bad seed, which grows effortlessly.

This fraternal quarrel (in which obviously not everything is and always has been quarrel) comes to live with high intensity by the performance of So Ji-sub (who appears in a quite bold manner for long stretches) and Shin Hyun-joon (who has already perfected his characteristic ´sad look´ in "Stairway to Heaven"). The two really get into their roles and take the viewers with them. The story gains as 'little Abel' covers a good distance in a parka and among refugees in China. So the story not only takes place in the elitist world of doctors, between surgical gowns and suits, but also gets more down-to-earthness in the struggle for survival of simple and non-privileged people at the opposite pole of social life. The two female leads Han Ji-min and Chae Jung-an also embody the contrast of these worlds in their own way.

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Makyang at its finest. Staged with great sensitivity. A rollercoaster ride of emotions guaranteed!

Back then, in 2000, "Autumn Tale" kicked off the celebrated "Endless Love Series" and is (like the other 3) a hit. Timeless. Heartbreaking in the face of life's unfairness. Bittersweet and tragic. "Autumn Tale" offers makjang at its finest. All of this is staged with great sensitivity. A rollercoaster ride of emotions guaranteed!

Two siblings who aren't actually siblings - but nobody knows. A momentous decision when it comes out randomly. Outrageously mean intrigues. And an unshakable bond of love that (nevertheless) must not be. Because even if you might dare to rebel against the family, there is always another stroke of fate.

It is always possible for things to turn out worse - this is a promise, KDrama Land can surely give!"Autumn Tale" is prove of that. And as always with makjang: an enormous capacity for sympathy, suffering and compassion is a prerequisite for 'enjoying' this KDrama. Makjang could be considered a reinvention and revival of the idea of catharsis in connection with the Greek tragedy. On the roller coaster of human feelings between greed, love, betrayal, hate and forgiveness and suffering, scolding, laughing, crying, the moment of empathizing with the emotional processes of the protagonists can have a liberating effect. (All 4 KDramas of the "Endless Love Series" - "Winter Sonata", "Summer Scent" and "Spring Waltz", too - are actually great at ´that´. You better be prepared and ready for it... if you are, you won´t be disappointed!

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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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When is a woman beautiful? When is she not (anymore)? What does it mean for love? For work?

"She was Pretty" is a true story, so they say. It's about love - of course. The first love, too. And about being a woman in South Korea. When is a woman beautiful? And when is she not (anymore)? And what does that mean for her then? For love? For work? For social life? For your self-esteem?

That's what this KDrama is about.

Wanting to be beautiful as a woman is widespread. Needing to be beautiful as a woman is deeply Korean. In hardly any other country do women spend so much time on skin care and make-up. Impeccability of the personality is reflected (in the South Korean self-image) in the form of pure skin and so facial care is part of a comprehensive ideal of beauty. The KBeauty industry supplies innovative products for this. In Germany, there are an average of three to five care steps that women use for their facial care. South Korea has become known for its "10-step Korean Skincare Routine", which (should) lead to a flawless porcelain complexion in lengthy and loving detail work.

In my experience, series that deal supposedly critically with ideals of beauty, bullying based on appearance, discrimination based on aesthetic value judgments and norms tend to have a hard time. They can't really be critical since their sponsors often come from the KBeauty industry... And they can rarely present an "ugly", "repulsive" character as a protagonist if they want the viewer to identify with it and actually watch the series. The subject calls for compromises before the story can even be thought through, let alone be told. Most of the time, this results in a transformation process for the protagonist: she transforms into a beauty that men and women can no longer overlook, and as a result she at last gains (now well deserved) self-esteem.

That's why I'm not a fan of this type of series. Even if the actresses are usually very committed, perhaps because the topic is so important to them. But the story can't help it... In the end, the solution is the transformation - the ugly duckling blossoms into a pretty woman and thus causes plenty of "Aha!". That doesn't convince me personally, because the core of the problem is rarely shaken, at most it is touched on the shell.

Accordingly, "She was Pretty" is not among my favorite series. Still I like it. Why? After all, there is the male character of Shin-hyuk. He's a great guy, he's good-looking, he's got what it takes - but he doesn't act like the norm. He takes a close look behind the facades and encounters the human in the woman, not the image of the woman. And falls in love with the woman as she is (before some kind of transformation). I think we need more role models like this. In "She was Pretty" at least there is one. It's encouraging and also fun to watch Shin-huyk (refreshingly played by Choi Si-won) in his encounters with the 'Ugly Duckling'.

Of course, ugly is relative in this KDrama as always. The protagonist, Kim Hye-jin, was once one of the prettiest girls in her class and totally hip. However, she has inherited her father's skin, which is characterized by a noticeable redness in the cheek area. Also, her hair is naturally frizzy. Although this might disturb the eye of the South Korean viewers, it is actually nothing that cannot be remedied with a few interventions, if a woman wanted to. Hye-jin just doesn't want to. To her it's not worth it (also in monetary terms). Yet that's how she offends people and makes social life and professional life difficult.

She compensates for her flaws (and thus her lack of value as a woman) through hard work. At the same time, she and her goodwill constantly invite others to have her be exploited. There's a memorable scene in which she takes on the new job with a competitor. Her co-worker is what you might call pretty (at least she's done a lot to be). As a reward, she is given permission to manicure her nails during working hours and to work rather slowly (if at all). Hye-jin, on the other hand, is passed around, pushed and insulted. The ideal of beauty for women - beyond performance - thus influences hierarchies in the working world. Unfortunately for South Korea this is a widespread status quo.

With Hwang Jung-eum and Choi Si-won being in a cheerful mood and providing plenty of fun in the midst of the actually less funny social conditions, the KDrama becomes worth seeing. The exalted editor-in-chief of the lifestyle magazine, who changes her hair color and her outfit with the hour and constantly recites from Italian operas, also ensures a good mood.

Ah, yes, this Kdrama is first of all a rom(ance) with some com(edy) in search of a happy ending. Some things may be predictable, but some are not.

As far as the beauty-topic ist concerned: It´s never too far from the norm, but some socially critical echoes could still be sprinkled nonchalantly throughout the course of the story. ...Humor paves the way for serious messages...

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Weekend family drama, progressively challenging the concept of becoming/living as an ´adult´

“My Golden Life” is one of those KDramas that have been writing drama-history in South Korea. It is considered a 'national' series – popularity increased rapidly, the number of viewers doubled during the broadcast and towards the end, almost half of all nationwide TV audience during the weekends, while “My Golden Life” was broadcast, watched this series.

"My Golden Life" is a family drama, that doesn't just get lost in family clichés, Makjang and RomCom, but instead explicitly addresses some critical contemporary issues. Additionally, given attitudes and convictions are boldly deconstructed along the way. Thus, "My Golden Life" is a rather progressive family drama, involving also the 'quite new' concept of making personal life decisions despite (and in opposition to) family interests. In addition, more than one protagonist is questioning his/her life decisions or is forced to dealing with 'failure' (up to 'depression' as a result of learned helplessness), which is also quite progressive. Whether rich or poor, such issues likewise hit any income classes - in “My Golden Life”, too. In addition, there are current long-running topics such as the (lack of) work-life balance, discrimination because of social status, and the shame of divorce, as well as the increasingly sensitive issue of 'age'.

Ultimately “My Golden Life” is progressively challenging the concept of maturing in the sense of making my own, accountable decisions and thus becoming/living as an ´adult´. What does it mean, what does it need to be an 'adult'? ´Adult´ in the sense of having grown out of the familiar nest and being able to fly with my own wings? In the sense of being challenged to apply what I have learned in my own, individual manner? Is it allowed? Actually desired? Even wanted?

Notably gratifying and astonishing: Throughout the series, practically all of the divers family members go through their personal maturing processes against the background of various contemporary social issues. Many dramaturgical motifs may be familiar, but you can be sure that sooner or later everyone will be challenged with their attitudes and decisions being on trial. “My Golden Life” is not about stumbling through life with a social reptilian brain in obvious stimulus-response pattern. And it is not about by all means controlling the environment with the arrogant mindset of absolutist power fantasies. "My Golden Life" is intelligently and systematically deconstructing the usual set screws for critical life decisions (and dramaturgical plot developments.) In the end, almost every protagonist gets challenged and in the long run actually they all come to their individual, sometimes astonishingly mature, honest and even wise reassessments and re-decisions. This is (at least in this KDrama) possible, permitted, actually prerequisite.

Strikingly symbolic to deconstruction processes of social and individual assumptions throughout the story, ´gold´ is a metaphor for the estimation and valuation of an individual life. Its meaning and value is changing throughout the KDrama, parallel to the transformation processes of the protagonists... Most of the characters initially have the conviction that money (and associated with it: status) is the prerequisite or guarantee for happiness and a worthwhile, precious life... (as on the other hand the lack or loss of money is the reason or the cause of unhappiness and equivalent to a nugatory life.) However, most of them realize over the course of story that a ´golden´ life is not necessarily one that is successful, prosperous and meaningful because of a lot of money. In fact, an elitist, privileged life - being born with a ´golden spoon´ in the mouth - eventually comes with a ´golden cage´, too... Rather, a ´golden´ life is cordial, substantial and radiant with accountability and authenticity.

Within turbulent relationship dynamics (including a bit of Makjang-style topping when it comes to plot development) the 'impoverished middle class' and the 'dirty rich Jaebeol clan' are cleverly juxtaposed against each other, thus almost offensively confronting with the exaggeration of social class-affiliation and questioning traditional mindsets; additionally, full of wit contrasting submissive obedience and self-confident rebellion. Meanwhile, a dubious, arrogantly patronizing 'Noblesse oblige' virtue is craftily criticized, too.

“My Golden Life” is sometimes funny, sometimes intelligent, sometimes outrageously provocative, sometimes infuriating, sometimes emotionally serious, sometimes touching and sometimes downright grotesque. Being set as a family weekend drama, it is supposed to be easy to digest… yet, at the same time, the KDrama is consistently keeping its unabashed finger (gently, yet persistently) on the social scrapes, quirks and deep wounds, too. An astonishingly felicitous, ambitious balancing act. Overall, “My Golden Life” isn´t long-winded, even with 52 episodes. You may as well give it a try.






P.S.:
'Reassessment' seems to be the greater moral of the story.
Meaning: Traditional structures, rules, proven patterns and given orders may be all well and good. They may give orientation and set a direction in life. They provide a certain range of tools and know-how on how you can meet the challenges of life. But ultimately, in each individual case, it is still indispensable to carefully consider the appropriate application and decide for yourself what actually should be and could be accomplished. What is it, that I want? What is it, that I can do? What is it that I think is right? And what is it, that I am willing to supply?

At the end of education and apprenticeship usually there is a form of diploma or master's degree – not for mere copying, but for suitable, at best innovative application and enhancements. And in "My Golden Life" there are quite a few characters truly having earned their award... each in their own way. Eventually, it won´t do to simply adopt what others suggest, would have done or did before. It is all about individual solutions. Traditional lifestyles and attitudes are put to the test and are systematically deconstructed - voluntarily or involuntarily. In the end, the individually appropriate reassessment and authentically fitting solution does not necessarily have to lead to an easy or obvious decision...

"My Golden Life" is thus also giving a lesson in emancipation, too - in the original Latin and also in the more modern sense. Initially, Latin “emancipatio” was the “release of the son from paternal power”. In a broader sense: the child has grown or the student has been educated, so they can hold themselves accountable for their own life tasks and work obligations and thus take responsibility and reflect on their achievements accordingly. Additionally, in a modern, more general sense, emancipation is freedom from discrimination based on group, sex or class membership…

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A pleasantly beneficial KMovie infusion. Quiet. Tender. Full of consolation & healing impulse

"One Day" is a beautiful KMovie. Quiet. Tender. Full of consolation and healing impulse. In addition, the story expands the usual dimensions of perception - human being sees ghost; man builds relationship with ghost. The extraordinary situation facilitates extraordinary closeness, opens up new perspectives and allows the male protagonist to look behind the obvious.

The female lead character is visually impaired in life, yet specialized in sensing touch instead. The male protagonist, on the other hand, finds himself in a stage of his life, where he prefers to avoid his feelings, because they might overwhelm him. His inability to face the grief over his deceased wife, his feelings of guilt and being lost completely block him. By the way, the female protagonist is also blocked: she is in a coma.

The process of rapprochement between the two triggers a healing process, which is captured tenderly and lovingly, reaching out to the side plots, too. The KMovie knows how to touch. It might come along in an unexcited manner, yet with the perseverance of water, dealing with the stone...

After seeing the movie for the first time, I had no idea what had happened to me. It had pulled me into gentle inebriety. I had actually been sucked in and completely lost the distance.
So I couldn't write anything about it at first. I knew, l would rather want to see it again sometime in the near future. And again, it might not have been my last encounter with “One Day”. Why? Because of the overall gentle tone, the particular radiance, and the unique look&feel of this story. Because it's good.

“One Day” is not a blockbuster, no. However, in my eyes and according to my feeling, it offers a pleasantly beneficial KMovie infusion. (With wonderful acting, too.)

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One of those series whose true beauty unfolds only gradually

Happily, another jewel in the KDrama sky of 2025. Our Unwritten Seoul is one of those series whose true beauty unfolds only gradually—like the secret bloom of an evening primrose, opening quietly under the cover of dusk, revealing its radiance only to those who wait with patience.

Many voices have called the series emotionally profound, poetic, introspective, healing… It spent weeks in the global Netflix charts and entered the Top 10 in more than 28 countries. At its heart, it is a drama about identity, self‑perception, and familial wounds. And within it, Park Bo‑young surpasses herself in a dual role as Mi‑ji and Mi‑rae.

What first appears to be a quiet drama reveals itself as a finely woven net of fate, self‑deception, transformation, and quiet hope. It does not show a world that is better, but one that is honest. A world where dreams fail, families grow weary, people live side by side without listening to each other. And yet: there are strawberries. There are warm embraces. There is the possibility of beginning again.

The story of twin sisters who exchange roles may sound familiar, but here it becomes a meditation on identity, self‑worth, and the longing to be someone else.

Park Bo‑young does not merely carry the series—she shapes it. As Mi‑ji and Mi‑rae—and, in truth, as four substantial versions of them: each as herself, and each as the other in disguise. She grows through the subtle distinctions of expression, the quiet shifts in tone and posture, the evolving body language. Rarely has a double role been so convincingly embodied.

Lee Ho‑su (Park Jin‑young) is not the typical love interest. He is a man marked by scars, visible and invisible. Half deaf, half estranged from his own body, he becomes a mirror of imperfection—the very quality that makes the series so valuable. His relationships with mentor, mother, past, and with Mi‑rae and Mi‑ji are told without pathos.

The cafeteria jobs, the small‑town life, the broken dreams—these make Our Unwritten Seoul a counterpoint to dramas suffocated by glamour. Even though its stars come from the KPop orbit, their performances reach a new level: restrained, reflective, human. Even the supporting characters carry their own stories, which gradually draw us in. This makes the world believable and layered. The supporting actresses Cha Mi‑kyung, Kim Sun‑young, and Jang Young‑nam add depth without overshadowing.

And then the deliberate contrasts: city and countryside, high‑rise and strawberry farm. The farm scenes are almost meditative—a place of healing. Han Se‑jin’s departure from the hedge‑fund world is more than symbolic: it is about rediscovering a way of life that does not need to be efficient.

The theme of self‑compassion also finds its place here: the series asks not only how we see others, but how we treat ourselves when no one is watching.

The OST serves as an emotional companion. The visual design is carefully attuned to the story. The series employs a chiastic structure, working with opposites and reflections so that the characters’ development and healing become visible. Even the colors shift gradually, reflecting the inner states of the protagonists.

In the end, the story closes a circle. The characters return to places where they began—changed, grown, carrying their old wounds, which now can begin to heal. Subtle, beautiful. And, indeed: valuable.

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He forgets the past — but carries its weight, one name at a time, until memory becomes justice

"Remember" ist a Film about Revenge, Memory, and the Echo of History
An old man. A revolver. Five names tattooed on his fingers — and a memory slowly fading. "Remember" is no ordinary revenge thriller. It’s a film about guilt, about forgetting — and about what remains when history isn’t confronted, but buried.

At its center is Han Pil-joo, portrayed masterfully by Lee Sung-min. Before his memory slips away for good, he has one last mission. At his side: the young In-gyu (Nam Joo-hyuk), who only meant to drive the old man — and suddenly finds himself an accomplice in a revenge mission that is as absurd as it is moving.

What makes the film so remarkable is its tone: poised between tragedy and dark humor, between road movie and history lesson. This is no hero’s journey, but a moral dilemma — laced with dry wit, laconic dialogue, and a kind of tender melancholy. The camera remains still, the violence understated, almost quiet. And yet it cuts deep.

"Remember" is more than a thriller — it’s a commentary on Korea’s unresolved colonial past. From 1910 to 1945, Korea was under Japanese rule — a traumatic era that still reverberates. Many Koreans were forced into labor, women abused as so-called “comfort women.” And yet, some Koreans collaborated — out of fear, opportunism, or conviction.

The film poses an uncomfortable question: What if those collaborators survived — and simply continued their careers after 1945? What if they now sit in high offices, as businessmen, politicians, patriarchs? "Remember" hints at this — and leaves the audience with the haunting question of whether justice expires. Or whether, sometimes, it needs an old man with a gun.

In Korea, the topic remains sensitive. Official reckoning was long delayed, many archives stayed sealed, many names unspoken. And while Japan still struggles with a clear apology, Korea wrestles with its own culture of remembrance: How do you remember betrayal without losing yourself?

"Remember" doesn’t answer that. But it asks the right questions. And it does so through a protagonist who forgets — and in doing so, reminds us.

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Fantastic, the (red) thread - in every respect.

I have been reading only positive critiques about “Thread of Lies” all over the place. It just took a while before I could see the KMovie for myself. Basically, all the praise has already been said. Nonetheless! The story, which is sad in itself, is told, staged and acted in just such a wonderfully clever way! Despite the seriousness of its topic, the basic attitude is positive and light. The complex and complicated underlying social and emotional mechanisms are so sensitively identified and processed, I can't help but find words of praise for "Thread of Lies" myself, too! Absolutely worth seeing! The characters, their motives and backgrounds, their conflicting feelings, the gray in the shadow, the light in the darkness, everything comes across as multidimensional authenticity.

The older sister sets out to find out the actual reasons for the suicide of her younger, 14-year-old sister. We with her. There are traces – Suspicion. Culprit. Fault. Shame. As far as the eye can see... ...including the look in the mirror. Yet, it is not the index finger being raised. Rather, there is a hand, valiantly reaching out. Powerful!
It is not about accusation and blame or justification and defense. It is like it is. It was what it was. Recognizing THAT for what it is. Not sugarcoating it. No excuses. Recognizing each individual’s own contribution to some tragedy. It's all about this. To learn something out of it? In the best case!

In this KDrama, bullying (or mobbing) comes without bloody beatings and physical violence. Rather, it is the psychological, manipulative, nastily hidden, difficult-to-understand social-emotional mechanisms that are elaborated in an extremely sensitive, comprehensible way. A girl is forced into inner isolation at an age when the peer group actually becomes more important than family. Friendship, dependence, abuse - the boundaries are not yet so clear. When it comes to that, the young are still 'children' – perhaps with high ideals already, but still without lived friendship-experience. Friendship is a word with deep meaning, a powerful concept. It is related to high hopes and yearnings. It is needed, in order to survive in this world.
In contrast, there are parents who know better and still duck away. There are bullying victims who somehow survived. Also parents, who are absorbed in their own world. And in the middle of it all, a young girl says goodbye to this world. Decided and definite. Yet at the same time hesitant, too. Desperate after all. Helpless. A 14-year-old says goodbye to a world in which the only one, who knew about how she truly felt, was a stranger...

The complex story is processed in a non-linear manner. Compact and yet differentiated. The tragedy of the unspectacular is intensified by a rather subtly developed arc suspension. Touching, but not told in an overly emotional way. And what can I say... the story unfolds in such a true to life manner that you can't even be angry with the venomous perpetrator. At least not as much as you would like...

Fantastic, the (red) thread - in every respect.


PS:
The story is based on the novel “Elegant Lies” by Kim Ryeo-ryeong in 2009. Actually, the film production had a rather low budget and its initial difficulties to get started, as the topic is considered highly sensitive, especially in South Korea. The KMovie, however, gave the lie to the doubters. The response was enormous and consistently positive.

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Authentic! The people, the stories, the setting. Affectionate, humorous & true to life characters

"Diary of a Prosecutor" is an extremely delightful, unconventional and, despite all the sometimes snappy, sometimes cheerful, sometimes pitch black, sometimes heartful humor, it also offers a quite serious, profound examination of jurisdiction and practically handling the law. This embedded in the simple everyday work-life of ordinary people, told from the perspective of a provincial prosecutor. The script is based on the essay "Civil War Prosecutor", written by a real prosecutor and inspired by his personal experiences.

So it is primarily about the everyday life on the office floors and behind the office doors of the public prosecutor's office. First and foremost, this is about profane workdays that often last until late, including dinner and drinks with colleagues. However, this is also about a noble task, the juggling with legal regulations, the ideals of a just society and the diplomatic basics in dealing with superiors in the strict hierarchy from the bottom to the top. And last but not least, this is a potpourri of different individual stories of quite ordinary people who face the challenges of their inconspicuous lives every day anew, and eventually grow from them - as it is in life...

In other words, you get: a variety of people you grow fond of as you get to know them better; a job-portrait that is subject to the highest expectations, but whose credibility in the country is still not easy. And a (fictional) outskirts - a town at the seaside, famous for its oyster harvest. The filming took place in Tonyeong-si in the very south of the country, where practically the entire crew (around 150 people, including cast) stayed during the five-month shooting period... Provincial life is thus breathing from every pore of the KDrama - everything is a bit more relaxed, closer to nature. Seoul is far away…

Conclusion: Authentic! The people, the stories, the setting. The dramaturgical 'trick': the greater narrative of the omniscient narrator. The humor that comes along with it. Sometimes ironic, sometimes satirical, sometimes bone dry. Bottom line: funny and complex at the same time. Affectionate, humorous and true to life personality portraits. In script and play. The cases and the ethical questions involved go deep at times. And yet it is people who deal with it. Colleagues. Eventually in competition at times. Imperfect people, with weaknesses, even if they wear robes. Yet, people who can excel themselves at times, too. Other than that, the days, weeks, months and years go by, case after case, team dinner after team dinner...

As far as Korean life and culture is concerned, with this KDrama you can get pretty close to the people and their everyday world in many ways. Because of this and a wonderful overall concept, whose good spirit works on all scales, I consider “Diary of a Prosecutor” highly valuable.

Maybe it's a bit unusual at first. Don't let it irritate you. Keep going. I´d say it is worth it...

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I was immediately enthusiastic. It is exciting. Intelligent. Complex. Stylish. Cinematic. Touching.

In "Secret Boutique", the boutique itself is actually not the main focus, but rather its boss. With what her boutique secretly offer she has made herself irreplaceable for the established upper circles of society .
- An eye-catcher: Kim Sun-a as Jenny Jang in always exquisite, stylish fashion and with sunglasses that are extravagant in every lighting condition. She acts mostly calm, controlled, superior, with a poker face and in every situation a suitable solution to the problem.
- A joy: Go Min-si as an intelligent Baduk (Go) player and equal strategist who suddenly stumbles into Jenny Jang's team.
- A ray of hope: The fact that this KDrama lives on the many powerful female leads. Three Jaebeol ladies (!) included. The 'men' here tend to be tame shepherd dogs in the service of 'their' ladies...

I was immediately enthusiastic about "Secret Boutique". The KDrama is exciting. Intelligent. Complex. Stylish in the high-end segment. Often almost cinematic in light, colors, camera and set design. And despite all the sublime arrogance, sophistication and need for (self)control, it is also touching. Human traits are presented not only abysmal. A warming grounding in cordiality comes along with the characters around the Go player Lee Hyeon-ji.

Calling the story of "Secret Boutique" a romance wouldn't be appropriate. Feelings still play an important role - here and there and over there, too. Deep feelings no less. Nothing is shallow here. But primarily I would describe the KDrama as the exciting story of a revenge campaign. A story about the (emotional) price of such a vendetta. In addition, an intriguing story about the unfair, corrupt and criminal machinations of the greedy rich, who unscrupulously go over dead bodies, too. A compassionate story that offers insight into the very particular structure of the Jaebeol empires, which channel their power within the family (at the expense of trust, warmth and closeness). A touching story about love and loyalty. Also about how roles, norms and social structures as well as an ambitious ego hurt your own heart. In addition, the KDrama came up with a profound punchline that takes the Jaebeol worldview to the point of absurdity: the Jaebeol daughters, who are so convinced of their elitist, inherited noblesse and who consider themselves so much more valuable due to their lineage, actually do not have any Jaebeol-blood at all ... "Secret Boutique" portrays all of its drama characters in a complex, multi-faceted and tangibly human way.

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Korea´s socio-political North-South dynamics suspensefully catapulted into mass consciousness

"Money Heist: Korea - Joint Economic Area" is a remake of the Spanish Netflix production "La casa de papel". As with "Designated Survivor: 60 Days", "Suits" or "The Good Wife", this South Korean remake also sticks closely to the original. Many viewers may work through what is better, whether it is necessary, etc. - Not me, though. Rather, what fascinates me is how specifically Korean socio-political dynamics have been woven into the present story and suspensefully catapulted into a global consciousness.

Against this background, the series is truly brilliant. Most viewers might probably miss this or could care less, and thus don't even pay attention to it. Nevertheless, this or that might eventually fall in places, unconsciously. Be as it may be...

"Money Heist: Korea - Joint Economic Area" takes place in a fictional economically united Korea. This premise as a setting alone is ingeniously visionary, because it conveys into the mass consciousness such a not sooo unrealistic agreement scenario for the stuck situation between the two countries: An economic union that could be profitable and attractive for all sides... Yet, immediately the potential stumbling blocks are swimming in the wake... Exploitation, fraud, abuse! The promise of freedom and unlimited opportunity turns out to be just more profit and opportunities for those who are already living in the fast lane. The promising scenario for peace and prosperity for everybody might be one side of the coin, a raised index finger is pointing to the other side already: Attention! Wiheom! Danger!

"Money Heist: Korea - Joint Economic Area" is provoking with a dramaturgical "Hello-Wake-Up!" - On the one hand these potential capitalist dynamics could make a promising peace scenario possible, but on the other hand, in the same breath, would also torpedo it. This is where the big plan of the 'professor' comes in. He wants to counteract the machinations of the powerful, who are busy filling their already full pockets, regardless of those, who pay the price. Thus he comes up with a spectacle that will shake up the public (and their decision-makers). In the end this might ultimately force the system to be more mindful and aware in approaching a true joint venture in order to make it work for the people (not only the CEOs and the powerful).

In this context, the characteristic difficulties between Koreans from North and South are successfully demonstrated again and again: the deep distrust that has been actively cultivated for so long. The fear that the war, which has officially not ended yet, will openly continue. The constant spying. The contempt for the other system. All of this was politically tirelessly staged for more than half a century. Families were being torn apart almost at random back then (1950s) - like in Germany after the Second World War. At a time X, some were on one side of the boundary line and others were on the other. Coincidence. Fate. What followed after that was propaganda, both here and there. Building up an enemy image. And what was done back then, even if the framework conditions for rapprochement might been created, has to heal over time first. (This can be learned by the experience in Germany: having reunited for more than three decades, still in society the 'wall' between ´Ossis´ and ´Wessis´ has not yet been truly overcome...)

"Money Heist: Korea - Joint Economic Area" succeeds in weaving a realistic future scenario for a united Korea into an exciting story. With all difficulties and opportunities. In this respect I consider this KDrama a strong production. In doing so, the KDrama brings this possibility of a Korean peace closer into the mass consciousness - first of all for the South Korean society, which is extremely sensitive to this topic, but ultimately also for the rest of the world.

I also have criticism.
This is neither concerning the story nor the actors, on the contrary. And it is not about the fact that connoisseurs of "La casa de papel" will be strongly reminded of the original (including the names of the characters). No. I rather have a more general complaint regarding many Korean Netflix productions (vs. the national KDrama TV productions).
-First, there is the spice up of the narrative style for an international (rather male) eye that is generally used to a good portion of sex & crime and a higher pacing. Well, I don´t need it.
-Second: Why not really telling the story to the end? Yes, it could be "worth" one or more seasons, but nevertheless. They even split the first season into part 1 and 2. I don´t like it.
-Third: The sensitive emotional momentum, that is so crucial for KDramas, is reduced to the max. Yet, the strength of a KDrama, in my experience, is that we are emotionally drawn inside, that we identify ourselves, feel empathetic, and get very close to the protagonists, get involved into their world. International Style on the other hand is rather characterized by keeping a critical distance. Here the audience is watching from the outside. The story and acting may grab you, but you stay outside and watch. You don't necessarily get emotionally involved. What is happening will be and will remain the story of others. In this particular case as well. So unfortunately once again a central KDrama unique selling point was abandoned for the standards of international Netflix world. This is not necessarily bad, yet different. I would say the experience of watching is less intense compared to other KDramas.

Luckily, the KDrama in general has more than one crucial strength and can instead show off some of those others. So does "Money Heist: Korea - Joint Economic Area"...

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It´s Girl Power time! Outrageous, luminous angelic + consistently deadly, too. Pitch-black humour.

"Sympathy for Lady Vengeance" or in the original "Lovely Geum-ja" is grossly funny, bitterly satirical, with a huge portion of pitch-black, bone-dry, unpredictable humor. The KMovie playfully juggles with details that seem to have sprung from a film noir and, above all, deliberately wants to irritate with the aestheticizing stylization of bloodthirsty revenge.

Geum-ja is an Angel of revenge in the most literal sense. Luminous, angelic in her kindness, yet consistently deadly when it comes to her revenge mission. This makes the KMovie a paradoxical, incomparable experience: bizarre, absurd, dark and yet pointedly funny.

It´s is Girl power time! Patriarchy is in the pillory, regarding various offenses and arrogance of most of the male characters. Geum-ja (convincing to the point: Lee Young-ae) offers the entire program of associations with the feminine in its blatant contradictions: saint, whore, witch, as well as mother, lover, friend. Guilty in naive innocence. Outrageous. Diabolical. Sovereign. Powerful. Decided. Efficient. Exhilarated. Significantly, a remix of Vivaldi's "Ah ch'infelice semper" swings the baton in the background.

Storytelling is always close to Geum-ja. Not too much, just as much as is needed, is given to the audience. A serious, deeply meaningful off-screen narrator closes the gaps. As I said, the humor is pitch-black.

By the way, the KMovie (which has also received many international awards) is the third part of a revenge trilogy by director Park Chan-wook, which includes "Oldboy", that is considered one of the most influential films of contemporary South Korean cinema.

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