Lee opens the picture with a funeral, or, rather, a small family piling into their car to get to the funeral venue. Wife and mother Mi-ok (Jeon Do-yeon) wonders if she’s wearing the right dress, and the shoes she has chosen, a pair she hasn’t worn in a long time, are already pinching her feet. Her husband, Ho-seok (Sul Kyung-gu), says little—so little that it’s clear he’s filled with dread over whatever awaits him at this upcoming, obviously unhappy social event. Their extremely quiet young son (Jung Seop) sits in the back seat, amusing himself by dangling an empty chip bag out the window like a windsock. “It’s flying,” he says, just before letting it go—he’s not the only one feeling the oppressiveness of that car ride.
Zo In-sung as Sang-woo, Jeon Do-yeon as Mi-ok —Courtesy of Netflix
Mostly, though, Possible Love traces the ways people come to care for one another, either platonically or romantically. Ye-ji and Mi-ok quickly come to think of themselves as sisters. Though Ye-ji has married well, she doesn’t come from a privileged family—her father ran a dry-cleaning establishment—and she has some sense of Mi-ok’s money worries and feelings of insecurity. At an early meeting, where Ye-ji outlines the aim of her proposed documentary to Mi-ok, she leaves the table momentarily, and Mi-ok snaps a picture of the elegant backpack she’s left behind. Then she uses a Google-image search to find out the brand. It’s made by Loro Piana, and quite obviously beyond Mi-ok’s means. That's just one example of how Lee explores simple human wants, desires, jealousies. We often can't help wanting things we can't afford, especially when they've already been stamped by the approval of someone we admire.
Lee’s 2018 noir mystery Burning was, what we used to call in the days before the pandemic, a surprise art-house hit. An art-house hit today may not mean the same thing as it did then, given how much the cinema-going audience has shrunk in less than 10 years. It’s hard to predict whether Possible Love will find a similarly enthusiastic audience. This is perhaps a more plainspoken movie than Burning; its moral questions are fairly easy to identify and parse. But at a time when more people worldwide are worrying about hanging onto gainful employment, even as a relatively small handful of people control the majority of the world’s wealth, the dramatic pull of Possible Love may be even greater than that of Burning. Sometimes it’s a relief when a movie captures undercurrents of anxiety that, in our daily lives, we find difficult to put into words. With Possible Love, it’s as if Lee has taken our unspoken feelings and handed them to his actors. With words and gestures, with tentative smiles and flashes of anger, they show us fears and worries we might be feeling ourselves, possibly galvanizing us to face them.
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