The Deal: Caught Then Cagey

You're going to have to set logic free as a jailbird for So Yong-ho's thiller The Deal. For how can the police be on the trail of a serial killer when all the female victims' bodies are missing? Does missing qualify as dead? Fortunately, lead detective Tae-soo (Kim Sang-kyung), b.k.a. as "Mr. Intuition," defaults to his feelings over the facts. Which means a hit-and-run accident one rainy night seems significant in his pursuit of the killer for reasons only some internal vibe can explain.

That sixth sense doesn't allow him to protect those closest to him, and perhaps he takes to drink partially to deaden this gift which has failed him in a crucial way. ("I cant live withouut a drink," he proclaims after his sister (Yoon Seung-ah) dies. His brother-in-law Seung-hyeon (Kim Sung Kyun) would like to see less of him. His boss Chief Choi (Gi Ju-bong) would like him to get back on track. The serial killer Kang-cheon (Park Sung-woong) smiles whenever anyone's having a hard day and is very good at keeping secrets. But why do movie cops think that punching leads to truth-telling?

Introduction: Hong Sang-soo in Brief

Easily one of Hong Sang-soo's shortest features (running 105 minutes), Introduction nevertheless feels distinct within Hong's oeuvre with its black and white footage, relatively large cast, and slightly more active camerawork. Which isn't to suggest that this doesn't bear his hallmarks. It's just that most scenes despite the single shot POV feature more zooms and pans, and even occassionally splice in other material. Introduction also has a young protagonist: a former actor (Shin Seok-ho) with intimacy issues on camera and relationship issues off.

His girlfriend (Park Mi-so) has problems of her own. She's relocated to Berlin to pursue a degree in fashion, her mother (Seo Young-hwa) is a bit of an underminer, and she's been recently diagnosed with uveitis. Unless that last part is a drunk dream experienced by her beau after too many drinks with his mom (Cho Yun-hee), an old actor (Gi Ju-bong), and a cigarette-bumming best friend (Ha Seong-guk). Neither has an easy road ahead. Maybe his acupuncturist father (Kim Young-ho) can help, although he's been known to forget clients with inserted needles behind the curtain. Better to seek assistance from the new roommate (Kim Young-ho) who -- behind the scenes -- is also serving as still photographer, production manager, and script supervisor.

The Novelist's Film: Auteur Means Author

Considering how ubiquitous face masks were during the pandemic's early years, how strange that more movies don't reflect that reality. Were filmmakers afraid of normalizing masks or hoping they'd disappear or fearful a mask would date their movie. Well, their unaffected presence in Hong Sang-soo's The Novelist's Film makes this one feel both more real and more historic; his choice to shoot in black and white only furthers that time capsule aspect. And so because of the masks, The Novelist's Film doesn't feel dated. It feels honest, artsy and archival, a moving counterpoint to the head-in-the-sand approach employed by nearly every other filmmaker. In other ways, however, this flick is typical Hong Sang-soo: The action is grounded in awkward reunions, this time between a writer (Lee Hye-yeong) and a bookstore-owning friend (Seo Younghwa) then that same writer and a movie director (Kwon Hae-hyo)then the writer and a poet (Gi Ju-bong) who used to be a drinking buddy.

The film gets most engrossing once the writer meets a famous actress (Kim Min-hee) but Hong also keeps us engaged by repeatedly throwing in a third character: a sign-language student (Park Mi-so); a visiting cousin (Ha Seong-guk); a non-speaking little girl (Kim Si-ha) who stares through a window. Everything's made fascinating by the masks, too. Remember when we wore them below our chins to talk? or when we couldn't decide whether to wear them? or when we were the only ones wearing them in our group? or when we wore gloves? As a snapshot of history, Hong gets these details right. Eventually, things gets pretty meta, thanks to the entrance of a famous actress (Kim Min-hee). But from start to finish, The Novelist's Film an effective reminder that feature films can reflect life without ever pretending to be documentaries.

In Our Day: Actors in Search of Something

Hong Sang-soo's In Our Day has two parallel storylines: in one, an aspiring actress (Park Mi-so) comes to visit a successful one (Kim Min-hee) who's staying with the latter's possibly alcoholic friend (Song Seon-mi); in the other, an aspiring actor (Ha Seong-guk) drops by the apartment of a newly sober poet (Gi Ju-bong) who's being filmed by a young documentarian (Kim Sunghyun) for a school project. But as the poet states himself: "Life seems to go on without any connection to those reasons." Like many other Hong films, there's a lot of loosely connected dialogue delivered in profile by two characters facing off so sometimes having a triangle of players lends itself to more dynamic exchanges and tableaux. Even an early scene between two friends benefits when a big fluffy cat named "Us" enters the frame.

In that first scenario, the drama finally escalates when Us suddenly disappears, sending the two main women into a panicked despair. In the second storyline, the poet descends back into bad drinking habits when his admirer runs out to get two bottles of soju. As in his other recent pics, Hong takes on the roles of cinematographer, director, writer, composer, and editor. Is it my imagination or as a result is there less music, less cuts, and less varied angles? The result lands somewhere between Andy Warhol and John Cassavetes, with maybe a little of Woody Allen at his more philosophical thrown in — a static pseudorealism that's neither antidrama nor heightened naturalism. For Hong, one of the most prolific Korean auteurs, "maintaining a clear vision may be the hardest thing in the world." He's right. Just ask the poet.

A Distant Place: Gay Guys Get Sheepish

What's love got to do with it? Well, Park Kun-young's melancholic romance A Distant Place is the first Korean movie I've seen while snuggling with a Korean-American sweetheart in my bed. I'd share his thoughts on the film but he'd had a long week and fell asleep early on, although his cuddle didn't prevent me from watching this sad little drama 'til the end. His snores weren't commentary! Then again, this cinematic love affair isn't one I'd hope on either of us so I was perfectly fine with him dreaming the night's entertainment away.

The picture's two gay men — a painter-turned-sheepfarmhand (Kang Gil-woo) and a pretty boy poet-turned-teacher (Hong Kyung) — have a tough road ahead of them. Not only is the town less than accepting of any friends of Dorothy but the farmhand's sister (Lee Sang-hee) has reappeared after five years to reclaim the adorable little girl (Kim Si-ha) that he's been raising amidst the sheep. The elderly rancher (Gi Ju-bong) would like his queer handyman and the kid to stay on; the rancher's daughter would like more than that but she also doesn't get bent out of shape when she finds out he'd rather shack up with a dude. As to granny (Choi Geum-soon), she eventually wanders as much as her mind which sets off a series of disastrous events springing out of the cruelty in the closet. Slow-moving but far-from-dull, A Distant Place is a quiet film ideal for quiet nights made quite better by a warm friendly body curled up next to you in bed.

Viva! Love: Harold and Maudlin

I did not need to see Oh Joum-Kyun's Viva! Love. Not this week. Not this year. This "feel-heavy" dramedy about a middle-aged woman (Kim Hae-suk) who finds new meaning — or is it old meaning? — in life after she gets accidentally impregnated by the drunk drycleaning boyfriend (Kim Young-min) of her career-chasing daughter (Kim Hye-na) is infused with a desperation that no amount of chocolate candy or honey-flavored beverages can remedy. No, this expectant mother is not joyous about life and love. Most of the film, she comes across as decidedly depressed, an unfulfilled hausfrau who busies herself by preparing snap-top containers of lunch or hanging up wet laundry to dry. Her rule-breaking romance kicks off in a distastefully gross manner: She carries her soon-to-be lover's passed out body home to the room he rents from her then plays with his vomit-covered lips with her finger. Their inevitable courtship is childlike at best: She's either coyly eating ice cream from a cone or taking care of him like a parent. As to those bicycle rides he offers, they should be an invitation back to lost youth but the way she accepts them is more indicative of a self-conscious grandparent worried about breaking her hip.

The problem here isn't that love and sex can't cross generations so much as this particular woman never stops playing mom while her young man just seems starved for attention. What she's looking to rediscover isn't romance so much as motherhood. Now she's got two additional children: her tenant and the baby on the way. That gag Oh introduces suggesting the sound of her orgasming sends her economically-challenged neighbors into sexual overdrive is either an AARP fairy tale or an Ensure-induced food coma that wasn't clearly framed in the edit. What does feel real is the acceptance of this third wheel by the once-cheating husband (Gi Ju-bong). When you get older, convention seems like a crock. The man of the house hasn't slept with the lady of the house in some time. As long as she's still helping out at the karaoke bar, why not let her recreate and procreate in her free time?

Judgement: The Mortician of Oz

People who think they don't like Park Chan-wook, and write off the world class director as an auteur of arty torture porn, would be wise to take a look at some of his less bloody shorts, which often scale back on the violence without downplaying the gallows' humor that has become Park's thumbprint. With the early-career short "Judgement" (sp) for example -- which precedes not only his revered/reviled vengeance trilogy but also J.S.A.: Joint Security Area -- Park already exhibits a fully realized, comically macabre sensibility, a one-of-a-kind grotesque sense of humor that has gone on to earn him devoted fans -- me among them.

The action in "Judgement" takes place in a morgue. But if you assume Park is about to settle for "morbid absurdities" in this 26-minute pic, think again. The impromptu inquest that takes place in "Judgement" (which has its fair share of grim slapstick and hairpin plot twists) is occurring amid an end-of-days scenario of horrific proportions. While a mourning couple (Ko In-bae and Kwon Nam-hee) and an alcoholic diener (Gi Ju-bong) argue over the true identity of a corpse -- and the rightful claims to some substantial insurance money -- within the morgue, the world outside is being ravaged by earthquakes, tornadoes and tidal waves. The arrival of a young woman may leave you further doubting the story of some of the players here but in "Judgement," the question isn't who is lying but why anybody would be telling the truth in the first place... even a seemingly disinterested person like the TV correspondent (Choi Hak-rak).

Like all Park films, even other shorts such as his unforgettably inventive mini-documentary "If You Were Me" and his improbably slick iPhone creation "Night Fishing," "Judgement" is exquisitely shot. Park makes pictures AND tells stories, mostly this time around in cinematographer Pak Hyun-chul's somewhat newsreel-like, somewhat surveillance-camera-footage black-and-white before changing momentously to an unflattering color stock that arrives with all the shock and awe of the yellow brick road. The homage to The Wizard of Oz arrives with a catch: No one is going home this time around.

Sorum: If a Strange Man Offers You a Free Ride, Does It Matter If He's a Cabbie?

I watched Sorum because I wanted some K-horror. But Sorum isn't a fright flick despite the ghosts, the creaky stairs, the constant rain, and that ever-flickering light in the dirty hallway. Sorum is a creepy thriller that gets its chills from the real, not the supernatural. At its center is Yong-hyun, a soulless cab driver (please-take-your-shirt-off-again Kim Myeong-min) who seduces convenience store cashier Sun-yeong (please-throw-out-that-winter-coat Jang Jin-young) shortly after she murders her abusive husband. True to noir, such a romance is predestined and doomed. He may help her bury that wife-beater but that's not enough to keep them together forever. You see, she's got issues with intimacy and he's got hangups around commitment. It takes awhile for each to discover that the other isn't exactly his/her ideal and director Yun Jong-chan takes his time as he reveals not just two disturbing psychologies but a whole shabby apartment building full of them. Aside from these twisted lovers, there's also a failed publisher-turned-plagiarist (Gi Ju-bong) who drinks alot and a widow (Jo An) who lost her baby as well as her husband. The movie's ending is a bit baffling but there's so much good that precedes that who cares.