Director Chang-dong Lee’s work over the past two decades has defined the Korean New Wave. Burning, his first production in eight years is no different. The sheer number of Top Ten lists on which this South Korean drama has appeared, practically compels every critic to see the picture in 2018. It was nominated for the Palme d’Or at Cannes and it’s the South Korean entry for the Best Foreign Language Film for the 91st Academy Awards. South Korea has submitted entries since 1962. Despite this, no South Korean movie has ever even been shortlisted or even nominated for a best foreign-language Oscar. That may change this year. Now having said that, my flattering buildup is an ironic segue into my lack of enthusiasm for this picture.
The story begins as a simple boy meets girl tale. Aspiring writer Jong-su (Ah-In Yoo) runs into a girl named Hae-mi (Jong-seo Jeon) that he knew when he was young. She is dancing outside a store to attract customers. Over coffee, he learns his old acquaintance is studying pantomime and she pretends to eat a tangerine by peeling it. He is impressed but she downplays her talents. “Don’t think there is a tangerine here…but rather that there isn’t one”. She seduces him and they sleep together that night. Later when Jong-su never sees the cat that Hae-mi has asked him to feed while she is away in Africa, your mind starts to wonder. Is there even a cat at all? Director Chang-dong Lee drops lots of little perplexities that solicit a closer examination of details throughout the story. Things get more complicated when Hae-mi returns from her trip with a new beau named Ben (Steven Yeun) in tow. A possible love triangle of sorts is formed. Although even that’s up for debate. Who is this guy? What does he do? Are they a couple? One individual confesses to enjoying a strange hobby. Another character goes missing. Or do they? You will have many questions amidst the speculation. Few will ever be answered.
Burning is clearly assembled by an artisan that likes to deliberate over his craft. The slow build is carefully put together. The performances by a trio of actors further draw you in. Actor Yoo Ah-in is Jong-su, the protagonist. He has an unexpected everyman quality that belies a seething resentment in his ineffectual character. More memorable is actor Steven Yeun, as the enigmatic Ben. As the wealthy antagonist, he is an ambiguous alpha male that inspires jealousy in our hapless lead. His blissful confidence will inspire your hostility too. Somewhat more disconcerting is the character of Hae-mi portrayed by newcomer Jeon Jong-seo. She seems to simply exist as the object over which Jong-su can obsess. Her self-initiated disrobings become rather troubling. It inspires our irked hero to remark, “Why do you undress so easily in front of men? Only whores do that.” Jong-su’s slowly mounting jealously builds over the course of the mystery. Your ability to identify with his confusion and escalating frustration is key. How this beta male will respond or even if he will respond, is an ongoing provocation.
Burning is based on the brief short story Barn Burning by Haruki Murakami that first appeared in The New Yorker in 1992. Although “inspired by” is far more accurate. Screenwriters Jung-mi Oh and director Chang-dong Lee have decided to be much more specific. Their chronicle contains additional details not contained in the original work. For one, the class differences between underprivileged Jong-su and affluent Ben is an underlying theme that is emphasized in the movie. Jealousy is a major exploration of the film as well. The repression of these feelings is cultivated by Jong-su. This provokes a slowly building animosity of Ben. There’s a lot to chew on here. I was moderately intrigued, particularly in the first half. The narrative meanders for two and a half hours before culminating in a violent climax. The story ends without ever answering THE “burning” question. I suppose open interpretations can be fun, but the whole exercise left me rather….cold.
12-09-18