Short films were represented by two screenings at the London Korean Film Festival. Each showcased different works selected from Korea’s Mise en Scène festival, which celebrated its tenth edition this year and was originally set up by the filmmaking powerhouses Park Chan-wook (Old Boy) and Bong Joon-hoo (Mother) as a platform for the country’s shorts.
Both screenings opened with their star attraction, Night Fishing (2011), a collaboration between Park Chan-wook and his brother Park Chan-kyong. Steeped in Korean folklore and traditional religion, the film passes through three distinct atmospheres. It begins with a stylish musical prologue with a jerking, twisting front man and his band performing amid colourless reed beds. The camera soars away to a lone man sitting on a riverbank, his fishing rod primed and tinny radio playing, and the film takes on the air of an ominous horror film. Then, in a gloriously unexpected twist, the film makes a high-energy ascent into a colourful cacophony of mournful wailing and religious chanting. It is a strange journey and one made more so by the way in which the film was made: every single shot was filmed on an i-Phone 4. It would have been a bizarre, beautiful film regardless, but the technology creates further interesting effects as the camera flips 360 degrees or shoots the fishing scenes in grainy night vision.
It was an impossibly strong start and at the second screening, which I attended, the following shorts never quite matched its quality. That said, the standard was high and I especially enjoyed Kim Bo-ra’s The Recorder Exam and Lee Chang-hee’s Broken Night (both 2011), two wildly different films. The Recorder Exam is a beautifully small-scale, poignant film that follows a young girl’s preparation for a school music test. The film makes snatched references to the 1988 Seoul Olympics but the narrative focuses on the domestic story of an unhappy home life, a million miles away from grand, international ceremonies. In contrast to the slow and still approach of The Recorder Exam, Broken Night is a fast-paced nightmare of high-speed road accidents and shifting moral perspectives.
The sinister atmosphere was echoed in Yi Jeong-jin’s Ghost (2011), which followed a man hiding out in a derelict housing block following the murder and assault of a young girl. The film never made its message or the subject of its empathy clear so, while its creepiness was well executed, the story seemed to peter out, feeling like the start of a longer film rather than a completed short. I felt that the weakest of the selection was Kim Han-kyul’s Chatter (2011), a comedy focusing on a meal out between friends that quickly descends into a battle of gossip and ill-feeling as secrets and insults are exchanged. I found the humour to be a bit laboured (an effect further hampered by poorly translated subtitles) but I think this was a matter of personal taste; the ICA cinema was soon filled with laughter. Indeed, the audience seemed to be engaged throughout the screening and there were very positive murmurings as the selection came to an end. The chosen films provided an interesting chance to see material beyond Korea’s internationally screened feature films and it appeared that everyone at the ICA was very appreciative of that.