Filmmaking is a system that requires a massive mobilization of capital and manpower. Won Hyang-ra, the producer and actress of this film, and I, the director, decided to try to operate outside of this system as much as possible. The first output of our collaborative work was CAN WE JUST LOVE (2018). This film was produced and performed in a sort of “selfie” mode, in which Won and I, independent of other crew members, set up the camera before jumping into the frame to act. The unique characteristic of such a method is that in most scenes the camera remained fixed and stationary, while the actors did not need to feel any sort of surrounding gaze while performing. As a director interested in pursuing realistic depictions, it was important that the style of acting was as free and comfortable as possible, and the two of us had the advantage of reducing such outside burdens.
Three years have passed since this project, and our environment and life have not changed much; we can still feel the high systemic barriers that exist in traditional filmmaking. We decided to produce a film in the same way once again, which is my second feature film NAJENEUN DEOPGO BAMENEUN CHUPGO (Hot in Day, Cold at Night).
Considering the limited production method, we thought it would be nice to compose a minimal storyline that included materials, environments, and episodes that are not too far from the real daily life around us. My filmmaking became a process of emptying out unnecessary elements. With this, my films became free.
My filmmaking became a process of emptying out unnecessary elements. With this, my films became free.
Since the story of a couple who are in financial difficulties is such a common subject, I thought it should be made into an uncommon and unique film. I believe that it is dangerous to never waiver from sad stories, which can easily make one fall into self-pity. I wanted to find a specific rhythm for this film and one way to do so was via humour. I believed that it would become the film’s power, and help hold the audience until the end.
This film is also about salvation. The couple suffers from several events. Jeong-Hee falls into distress after taking out a private loan and Young-Tae suffers from the betrayal. I kept on thinking how one could be saved and freed from these pains. In the end, Jeong-Hee finds salvation in her mother and Young-Tae turns away from his own anger, escaping from the pain independently. This led to a conclusion that one should “avoid instead of ruining oneself by fighting against the trouble! Save yourself by dodging!”
This film a minimalist in form, and emphasizes the feeling of daily life. Among the various type of visual art exist certain pieces that appear on the surface to be little more than pencil markings, but if one looks closely enough it reveals a sophisticated work of art with precise details. I believe such an approach, with an attentive, proactive interest, is needed for this film as well. Even though it may deal with ordinary, daily life, I hope that in the end the audience could be touched by something that this film communicates.
Times have changed quite a lot, and the development of new technologies seem to overlap and intrude into much of today’s art. The film was intended to shrink away from such an overlay, and is a reflects a desire to return to the origins of cinema.
Park Song-yeol
