Premiering in competition at this year’s Venice Film Festival before being released via Netflix, the film begins with a nod to the final part of Krzysztof Kieślowski’s epic Ten Commandments-inspired 1989 mini-series Dekalog, ‘Thou Shalt Not Covet’ (a reference he makes explicit at the very end).
Here, the story begins with Mi-ok (Jeon Do-yeon), who lives with husband Ho-seok (Sul Kyung-gu) and their son Cheol. A welder, Ho-seok has been let go and struggled to find work since. His marriage to Mi-ok is already fragile; he is prone to drinking too much and getting into fights. Unemployment has also weighed heavily on him, to the point where his wife is begging him to go to therapy and share his burden.
“Soon all workers will disappear,” we’re told, in a narrative strand that touches on the rise of AI and the dangers so many of us now face, as tech takes over and jobs are slashed. Curiously, it feels like a companion to fellow Korean Park Chan-wook’s workplace black comedy No Other Choice, which premiered in Venice last year.
View oEmbed on the source websiteWith Ye-ji keen to interview Ho-seok about his experiences being laid off, the quartet grow closer, sharing meals and so on. Arguably, Ye-ji crosses a line that no documentary filmmaker should cross, getting to know her subject too intimately and showing little impartiality. Does she even care about Ho-seok’s feelings? The more she delves, the more angsty he gets, as he’s forced to recall some traumatic moments with his co-workers that left him shattered.
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With flashbacks to the past to broaden out the story, it’s an utterly absorbing drama, despite a run-time that clocks in at 164 minutes. Fear not, though, because you will get sucked in by a stimulating story and four top-notch performances, the best being Sul Kyung-gu, who first worked with Lee back on 1999’s Peppermint Candy. The result is that rare thing: a movie that explores a vast spectrum of emotions. And, believe it or not, even a bit of toilet humour.
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