STOP10 Jul 2017: 'Han' by Jonathan Choo
The concept of ‘Han’ referenced in the film’s title is a uniquely South Korean notion. It is the Korean pronunciation of the Chinese word 恨, which means hate; To the Koreans, it refers to a lingering sense of un-avenged wrongdoing or unresolved trauma that may psychosomatically trigger physical sensations of nausea or discomfort. Its origins are possibly historical, theorized by some scholars to have emerged as a hangover from South Korea’s experience under Japanese occupation.
This
film from writer-director Jonathan Choo grapples exactly with the weighty theme
of justice and penance. It sees veteran TV actor Zhu Houren playing father to a
damned son, whom in a fit of panic, flees the crime scene after a hit-and-run. Zhu’s
character embarks on a pilgrimage to Korea to seek out the deceased girl’s
Father, seeking forgiveness, parent to parent. The film poses pertinent
questions on atonement and absolution; when is an apology enough to explain
away a life and does it matter if it’s the sinner’s messenger that comes
knocking?
Bathed
primarily in warm auburn tones and set in autumn, the film is awash with the
sense of renewal and possibility that accompanies fall season. The two fathers
share a drink and together occupy a space of collective grief; guilt and loss
sharing libations and communion. An air of tragic acceptance and inevitability permeates
their exchange; it is cordial, friendly even, with a sense that the fatal
interaction that befell both their children served as a sort of morbid bonding
experience.
The
warmth of scenes in Korea seem even starker when contrasted with the sterile
blue of the prison scenes with the son. Their conversation starts perfunctorily,
both men prodding at surfaces, dipping their toes into the water. Their
exchange pivots and shifts and its tenor suddenly confessional, revealing the
depth of the son’s anguish and remorse. The icy palette is more an expression
of his inner penitence than any external bids for vengeance.
Under
Choo’s assured direction, the film is wonderfully restrained and understated.
It sidesteps melodrama and feels lived in instead. Choo’s camera is still and
his takes extended, transporting us into the same room as his grieving
characters. Unfancy yet intimate close-ups allow us a glimpse into their bare
vulnerabilities. The film shines when the camera sits and observes, allowing
Zhu’s performance to breathe. The veteran delivers an embattled performance,
biting and gritting; the drop of his eyes conveying an ocean of attrition.
Han by Jonathan Choo is a wonderfully
even-handed exploration of sorrow, punishment and absolution. It offers neither
outright vindication nor absolute damnation, occupying instead the space
between the two, offering in place of those extremes, an ode to empathy.
***
The film won the DBS Best Picture, Best Direction and Best Production Design Awards at the National Youth Film Awards 2016.
It will be screened as part of the screenings of last year’s winners. You can watch it on 1 July 2017 from 7 – 9pm at *SCAPE Gallery Level 5.
Find out more about the screenings and other talks and workshops which form part of the coming NYFA weekend here.
Written by Koh Zhi Hao
For the full list of July 2017's 10 films under STOP10, click here.
***
The film won the DBS Best Picture, Best Direction and Best Production Design Awards at the National Youth Film Awards 2016.
It will be screened as part of the screenings of last year’s winners. You can watch it on 1 July 2017 from 7 – 9pm at *SCAPE Gallery Level 5.
Find out more about the screenings and other talks and workshops which form part of the coming NYFA weekend here.
Written by Koh Zhi Hao
For the full list of July 2017's 10 films under STOP10, click here.
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