Sea Fog

It is a really interesting time for Korean cinema. Chan-wook Park and Joon-ho Bong, South Korea's leading auteurs have successfully transitioned into the English language with Stoker and Snowpiercer, introducing a larger audience to their respective cannons. South Korean cinema is flourishing. Haemoo's success on the festival circuit and its selection as Korea's entry for the foreign language Oscar is probably due in a large part to Joon-ho Bong's credit as producer and screenwriter.

Haemoo (Sea Fog) is based on a stage play which is in turn based on a real event that occurred in 2001. Judging by the collective gasp in the VIFF screening I was in, I assume most were not aware of what event it was based on. All I will say is that the incident is shocking and traumatic; this is not a film for the squeamish.

The film centers on Captain Kang and his fishing crew. He is about to lose his boat due to lack of finances so in an act of desperation he agrees to the job of smuggling Chinese-Korean immigrants into the country. His crew is not told until they are at sea.

First time director Sung Bo Shim competently handles the film, employing a straight forward, no bullshit approach to storytelling that would make Clint Eastwood proud. The set pieces are solid, especially the ship itself, although the film would have benefited from a cinematographer who wasn't afraid to take a step back. The camera is often too close to the action and three uses of shaky-cam are three too many.

Haemoo has its flaws but it's properly paced and well told. The audience at the screening seemed to love it, simultaneously applauding loudly at the finish. I look forward to seeing what Sung Bo Shim does next, preferably with a slightly larger budget.

(TIFF'14 Intro) Director Sung Bo Shim introduced the movie's afternoon screening and stuck around for Q&A session afterwards.

(Review) I consider Snowpiercer to be one of the best films to come out of 2013, and Joon-ho Bong's co-scripting duties on Haemoo was what attracted me to Haemoo. While first time director, and co-script(er) Sung Bo Shim took over directorial duties for Haemoo, it is with Snowpiercer that the film will most draw comparisons. Although they couldn't be more different in terms of scripting, plot, or even the message they aim to get across, they are both a gritty, bleak look at humanity's darker side, and in both cases, play their conflicts out in locations that mirror the messages the films are trying to get across. As Snowpiercer traces a revolution that begins in the bleak lower classes back carriages of the last remaining train on Earth, moves through the empowered, and autonomous middle class cars and ends at the apathetic, electronically numb upper classes carriages, the audience are treated to a class warfare fueled journey through the entirely of our world.

Bo Shim, here, plays his tale out on a small fishing vessel, and a desperate captain, who decides to transport human cargo when business runs slow. As in Snowpiercer, the fishing vessel, and the ocean it travels on, reflect the mental state of the crew. Clear waters and sunny oceans start their journey, dark stormy waters mark their arrival to pick up the new cargo and as the crew start breaking and coming to terms with what they've been forced to do, the Haemoo (sea fog) sets in, blinding our screens, and trapping the vessel in ethereal limbo. Bo Shim takes visual clues from Joon-ho Bong and dresses up the three areas of the ship according to their roles: the uppers decks are gray and steely, the fish hold (a very bad place) is dark and bleak, and the engine room, the only 'sanctuary' for a large part of the film, is decked in shades warm yellow and brown. The film looks stark and visceral, and everything, from the script to the acting, helps get that across.

All the sights and sounds would be a waste without a solid script to back it up, and the movie does not disappoint. Haemoo throws average, ordinary, salt of the earth people into desperate situations that shatter, twist and test them. The movie's first act traces the lives of these fishermen, on and off land, and shows them going about their lives. The writing in these parts is so authentic that it's hard not to view them as real people, with real, crappy jobs by the time they head back off to sea. It is through these unremarkable and slow sequences (a charming little love story on the boat takes the better part of the first hour) that the script manages to put us at ease and catch us off guard when the s**t hits the fan. And it does hit the fan. I won't spoil anything for you, and while there's hardly any on screen violence, Haemoo was more effective as a horror movie than last night's screening of Rec 4. The final act culminates in one of the most haunting sequences you will see this year on the big screen, and ends with a perfect ending: unapologetic, chaotic, confusing, without closure. Real.

Before the film began, one of the film's protagonists (also in attendance) said she hoped that the movie will stay with the audience long after it's over. I find it hard to imagine anyone walking away from this film unscathed. How could ordinary people do these acts? Was there something dark inside them all along? Perhaps the things they were forced to do shattered their minds? Perhaps there something dark and twisted in everyone? These are questions I should stop asking myself, but I can't. Haemoo is a masterpiece, and excels in getting under your skin and affecting you on a very primal level. This is a movie you need to watch, and with an excellent score to boot, one you should want to.

The captain of a South Korean fishing trawler is offered his biggest payday yet. All he has to do is pick up a bunch of Chinese refugees off the mainland of China and bring them to South Korea. He takes the job and initially everything goes well. However, the plans are thrown into disarray when tragedy strikes...

Interesting drama. Plot starts and develops well. The event that changes the course of the plot is shown in a semi-sympathetic light towards the crew and captain and you get the feeling it is going to be story about how the crew manage to evade the authorities, and smooth things over with their paymasters.

However, from a point the movie takes a romantic turn, and an idealistic turn, and this reduces it from a crew vs the authorities movies to a much more conventional good guys vs bad guys film. The multi-layered shades of gray is replaced a one-dimensional black- and-white. This takes the lustre off the movie to an extent.

Is still reasonably entertaining in the end, but had the potential to be something great.

Generally speaking, it's OK. But the difficulties ahead are a little thin, and the outbreak of the evil part of human nature is a little too abrupt and short.

This film BLEW all my expectations out of the water , I knew nothing about it going in and enjoyed every single second of this incredible piece of Korean Cinema.

The intensity and tone of the film is one of the best things I can say about it , you could cut the tension with a knife and my hands were sweating the whole time ! The score and editing was impeccable , particularly the score being reminiscent of huge blockbusters (all though this is a lot more adult and brutal than an American blockbuster as usual with Korean Cinema). The cinematography was absolutely incredible , considering this took place on a boat , there was practically no shaky cam throughout the entire thing and instead the viewers are treated to some gorgeous visuals and beautiful smooth and steady shots. Only negative thing I have to say about Haemoo is the fact that a few times , it felt a little bit cliché with its character moments and plot decisions (very rarely) .

I could not believe my eyes when I saw the ratings online , they deserve to be much , MUCH higher.