Movie Reviews, Movies

Movie Review: South-Korean Oscar Contender “Burning” Will Sear Itself Under Your Skin


 
 

Jong-su, a part-time worker, bumps into Hae-mi, who used to live in the same neighborhood. Hae-mi asks him to look after her cat while she’s on a trip to Africa. When Hae-mi comes back, she introduces Ben, a mysterious guy she met in Africa, to Jong-su. One day, Ben visits Jong-su’s with Hae-mi and confesses his own secret hobby.

It comes as no surprise that hot, controversial themes are explored in Lee Chang-dong’s latest Oscar contender, perfectly titled “Burning,” ranging from a fleeting spark (of light reflected against a building, of a connection that wasn’t meant to be) to tumultuous, raging flames (of a dying relationship, of societal injustices, of a burning greenhouse). What’s surprising is the minimalist nature of this thriller – to avoid confusion, “Burning” is most definitely a thriller, despite its seemingly plodding, action-less plot – and how the tiniest moments and gestures speak volumes about the characters and their dilemmas.

The build-up to the unforgettable culmination deliberately takes its time, establishing the contrastive milieux of the three protagonists: Jong-su (Yoo Ah-In), a quiet aspiring writer, living a solitary existence; Hae-mi (Jeon Jon-seo), a quirky and mysterious young woman who, upon meeting Jong-su, claims that they used to be childhood friends; and Ben (Yeun Sang-yeop), a slightly older, wealthy playboy with a penchant for pyrotechnics. As their paths collide, the generational/economic differences surface, albeit gradually and subtly, Chang-dong using the thinnest of brushes to paint a vivid painting.

“Burning” is steeped in ambiguity but never becomes frustrating. That’s all due to the director’s masterly touch, wherein he keeps the pace glacial but our involvement in the proceedings piping hot, pulling us deeper and deeper in the smoldering embers of these characters’ lives. Hae-mi may or may not have a cat, she may or may not have fallen into a well as a child, or even known Jong-su at all, for that matter. Ben’s background is purposefully obscure, his source of wealth unknown – Jong-su even bitterly refers to him as Gatsby at one point. And what to make of our central hero (anti-hero?), Jong-su himself? From exuding pure innocence to verging on maniacal, Yoo Ah-In turns in a beautifully restrained performance, making you both root for and fear the young man. Three protagonists, three perspectives, all deeply probed without ever bludgeoning us over the head with music cues or spelled-out thematic elements.

Steven Yeun in Burning (2018).

And that’s the thing about South Korean cinema: it’s narrative tone and structure are so adventurous and radically different from Hollywood’s, it may take some viewers who are used to the predictable/manipulative nature of Dream Factory fare some time to acclimatize. Not to generalize – plenty of crap gets released in South Korea too – but it’s the approach, the willingness to break boundaries, look outside the scope of established storytelling norms, that I find so invigorating (also, all of my South Korean film reviews on this site have a positive rating). “Burning” is by turns a character study, a philosophical exploration of contemporary society, a story of obsession, and even a murder mystery. Don’t let the two-and-a-half-hour running time stop you. Every moment here counts, serving as a building block to create the larger picture.

Fire, by nature, has the capacity to be ephemeral or all-encompassing, and “Burning” explores that juxtaposition deftly. Just like a flame – or the sun’s reflection against a building – eventually fades, so does passion – but on the flipside, akin to a spark that spreads into an inferno, it can morph into obsession. “Burning”’s embers will stay in your mind long after the final frame fades.

Now playing in select theaters nationwide

 

 

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Alex Saveliev

Alex graduated from Emerson College in Boston with a BA in Film & Media Arts and studied journalism at the Northwestern University in Chicago. While there, he got acquainted with the late Roger Ebert, who supported and inspired Alex in his career as a screenwriter and film critic. Alex has produced, written and directed a short zombie film, “Parched,” which is being distributed internationally and he is developing a series for a TV network, and is in pre-production on a major motion picture.