If I had such a list I could now tick off Kyrgyzstan as another country from which I’ve seen a film. It’s an affecting coming-of-age drama where Jekshen (Temirlan Asankadyrov) has to deal with an alcoholic dad and a mum who’s found love elsewhere. Co-writer (with Ernest Abdyjaparov) and director Mirlan Abdykalykov marshals his cast of non professionals well though most of the interest derives from the novelty of seeing a place hitherto outside my knowledge.
The most striking aspect is the way children are bullied, by teachers, into bringing money to pay for such things as the school roof. I’m not judging as no doubt the economics of the country necessitate parental contribution; though I suspect, as in most places, there are ‘rich bastards’ who look after themselves. The film, however, doesn’t articulate the inequalities but focuses on Jekshen who, fortunately, is a good runner and a local tradition of combining a naming ceremony for a baby with a race, for which there is a prize, means he has the opportunity to get some cash independently of his pathetic dad.
The finale, inevitably, is a race for a big prize and the ending is nicely ambiguous.
I also saw two films in the ‘Are We There Yet?’ free screenings of dystopian films, Children of Men and District 9. Unfortunately the current crisis caused by the Coronavirus suggests we are there, though the understandable (in most countries except the UK and US) reaction to this does raise the question why governments aren’t treating the climate catastrophe as an emergency as well. Hopefully we won’t end up in a dystopia as portrayed by zombie movies though the supermarket shelves empty (in the UK) of bog rolls and much else does suggest some degree of irrationality amongst the panic buyers. Indeed I heard one woman exclaim, “I’m buying things I don’t need!”
Children of Men remains a great film; the dystopian focus is mainly on the treatment of migrants so its message is even more potent 14 years on. District 9, however, remains a disappointment. The set-up, degenerate aliens marooned in South Africa, is quite brilliant but the articulation of the narrative, with cliche-driven action, still fails to engage me, although the film was a worldwide hit.
My first visit to the Glasgow festival was a hit too. The brief intro given to most films was welcome and the closeness of the venues meant it was easy to get to the screenings on time even if the Cineworld cinema used was the top floor of a skyscraper.
This charming and enjoyable film is difficult to categorise. It is a potential family melodrama that evolves into a story about its central character Hana, a girl of 11 or 12. Hana’s story has elements of comedy and drama and also perhaps a gentle critique of our expectations of family life. With its bright colours and music it also made me think of anime and manga and I think that it offers something distinctively Korean or Japanese.
As the narrative begins, Hana is being elected as the ‘Best Classmate’ at the end of Summer Term. She rushes home full of energy and enthusiasm but is soon deflated by her parents’ squabbles and her older brother’s indifference. Strangely, the ‘Best Classmate’ seems to have no friends in her home district – or perhaps they are away for the summer? But one day she finds a younger girl, 7 year-old Yoo-jin, who appears to be lost in a supermarket. Searching for the girl’s parents, Hana finds instead Yoo-mi, the girl’s 9 year-old sister. Gradually Hana will be drawn into the sister’s world as they are mostly alone in a flat while their parents are working on a summer job several miles away. It’s the perfect opportunity for Hana to practice all the nurturing skills she isn’t allowed to carry out at home. The ‘House of Us’ turns out to be a house made by the three girls out of cardboard waste as just one of several craft-based activities. Hana becomes more like a mother than an older sister, revelling in the chance to cook.
Hana’s solution for her own disjointed family is for the four of them to go on a ‘family trip’. But is this likely to happen? An adventure with the two younger girls sounds more like a possibility. The film is in effect narrated by Hana. It’s a child’s perspective on a world she doesn’t totally understand and isn’t yet able to come to terms with. This means that writer-director Yoon Ga-eun’s film shifts between a child’s adventure and an adult family drama, as we learn more about both Hana and her ‘two families’. The film is the second feature by the director to look at the emotional lives of young girls, the first being The World of Us in 2016. The database of the Korean Film Council reveals that the film was released on 147 screens in South Korea, drawing 52,000 admissions and $353,000 to date at the box office.
There are five Korean films in the festival and I think it’s good that we get to see films like this. South Korea is a developed film culture which enables intelligent and enjoyable films like this to get a wide-ish release. I think a similar film would struggle to get such a release in the UK. But I think quite a few parents would like to share a film like this with their children. The film ultimately stands or falls on the performance of Kim Na-yeon as Hana and I think she does an excellent job. My only concern was the Korean diet on display. Hana has to produce a cookbook as a school holiday project and her only recipes seem to include meat, kimchi and far too many eggs and ketchup!