Korean Movies at Berlinale Movie Awards
From whimsical romance to heartfelt coming-of-age tales, three Korean treasures showcased at past Berlinale festivals highlight the event’s appreciation for innovative and sincere storytelling.
For many Koreans, the Berlinale—commonly referred to as the festival—has recently become strongly associated with the annual premieres of arthouse filmmaker Hong Sang-soo. However, the involvement of Korean cinema at this esteemed event showcases a wide range of diversity.
As the 75th Berlinale, taking place from February 13 to 23, approaches its conclusion, here are three unique Korean perspectives that have echoed throughout the festival’s renowned venues.
“I’m a Cyborg, But That’s Alright”
Park Chan-wook’s surprising shift towards romantic charm made a delightful entrance at the 57th Berlinale, feeling like a refreshing breeze.
Taking place in a mental hospital, the movie centers around Young-goon (Lim Su-jeong), a young woman who believes she is a combat cyborg, and Il-sun (Jung Ji-hoon), a kleptomaniac convinced he has the ability to steal people’s souls. Their unusual romance develops in a reality where delusions represent a kind of liberation.
The film was awarded the Alfred Bauer Award at the festival for its original perspective. Park eliminates the common clichés associated with sanitarium dramas, steering clear of the typical storyline where a rational character enters a mental institution. Instead, he focuses directly on the delusions of the patients, depicting their alternate realities with a sense of empathy.
When Il-sun sets up a rice-to-electricity converter in Young-goon to encourage her to eat, the scene is both comically ridiculous and profoundly moving.
“House of Hummingbird”
Kim Bo-ra’s deeply poignant coming-of-age narrative won the top award in the Generation 14plus category at the 69th Berlinale, which is focused on a teenage audience. Taking place in 1994 Seoul, the film tells the story of 14-year-old Eun-hee (played by Park Ji-hu) as she deals with family challenges, experiences first love, and embarks on a journey of self-discovery amid a swiftly modernizing Korea.
The film’s strength is found in its deliberate pacing and focus on detail. Through the perspective of Eun-hee, we observe a society grappling with the clash between tradition and modernity, where the pressures of academics lead to new strains in already broken families.
A subplot concerning a health scare subtly critiques parental neglect, while her relationship with a compassionate teacher provides a sense of hope without becoming overly sentimental.
“It’s Okay!”
Kim Hye-young’s first film as a director unexpectedly triumphed at the 74th Berlinale last year, winning the Crystal Bear for best feature film in the Generation Kplus category, which is targeted at children aged 14 and under. After teenage dancer In-young (Lee Re) faces the loss of her mother in a car accident, she unexpectedly finds a guardian in Seol-ah (Jin Seo-yeon), her strict new dance teacher.
The film skillfully intertwines its serious themes with lighter moments, especially in instances where In-young’s lively character interrupts Seol-ah’s carefully structured existence. Through their developing relationship, Kim examines how trauma can create both distance and bonds, while breathtaking dance performances and whimsical fantasy aspects enhance the narrative, moving it beyond typical drama.
Finally hitting Korean theaters on Wednesday, “It’s Okay!” highlights Berlinale’s talent for discovering hidden gems before they return to their origins.