‘Burning’ is a calm and quiet drama. On the surface. It invites the viewer to follow three characters and explore how their lives differ due to their social standing. After initially considering material things, we are encouraged to contemplate the emotional wants and needs of most people, leading to an examination of isolation and abandonment.
The film revolves around Lee Jong-su, an aspiring writer, who performs odd jobs to get by. A somewhat unassuming character of few words. He comes across Shin Hae-mi, a childhood friend and neighbour, more approachable in her demeanour with a light-hearted personality. Their reunion leads to them getting closer and Jong-su feeding Hae-mi’s cat whilst she travels in Africa. Upon her return Hae-mi introduces Jong-su to Ben, a man she met in Nairobi.
Ben is of a different mould – calm and composed, with an air of mystery about him. The introduction of Ben comes as a stark contrast to what the film has exposed us to beforehand as the norm regarding life and living conditions. Hae-mi’s studio as a small cluttered space that the sun doesn’t shine into. Jong-su’s father’s house is not cramped per se, but invokes a claustrophobic and shambolic feeling nonetheless. When we first see what car Ben drives and where he lives, we are met with an immediate realisation that a social structure exists, and this structure does not favour the many. The three of them spend a few evenings together raising suspicions in Jong-su regarding Ben’s motivations towards Hae-mi.
The director, Lee Chang-dong, regales us with a story of social inequality, creating discomfort that can be derived from the disparity between the two male characters. The tension is palpable during a moment when we first see Ben’s Porsche whilst Jong-su has to make his way home in his father's run-down truck. It is evident that Ben is well off, however what he does for a living is never revealed, maintaining a mystery about him. The director successfully navigates the story and moves beyond material possessions, asking the viewer to consider the things we all crave, namely a connection with someone. Early in the story Jong-su and Hae-mi develop an intimate relationship, providing that even someone like Jong-su can and deserves to have such an experience and bond with someone. After the introduction of Ben, Jong-su’s relationship with Hae-mi is taken away from him. Jong-su is faced to reconcile that someone of a higher social standing can more easily acquire what they want, even when it comes to interpersonal relationships.
The visual style of the film helps set the tone to reflect what the characters are feeling, with warmer colours appearing when Jong-su and Hae-mi spend time together, contrasted with more sombre and cooler tones after Jong-su is by himself. The cinematographer, Hong Kyung-pyo, successfully evokes the feeling of isolation, portraying Jong-su experiencing despair and depression when he has to come to terms with losing Hae-mi, by setting the scene with almost no light and focusing on the subject motionless.
After Hae-mi returns from Africa, the theme of isolation is introduced and can be felt immediately. The connection Jong-su had with her is gone. Subsequent interactions the trio have affirm that Hae-mi is slipping further away from him, until one day he loses touch with her completely. In parallel, the interactions Jong-su has with his parents are abrupt and transaction-like. After seeing his father in court or talking to his estranged mother, Jong-su is asked for favours. Neither exchange evokes any feeling of intimacy or emotional connection, leaving Jong-su to rely on the connections he forms for himself. After Jong-su is unable to contact Hae-mi it induces a sense of loss and abandonment, implying that this is due to Ben, suggesting the ease with which people with means are able to take what they want without repercussions or consideration.
Yoo Ah-in portrays Lee Jong-su masterfully as a quiet and simple man. It is clear that he does not have much and does not want for a lot. Jong-su is a man of few words, most vividly expressing his emotions through his actions or when interacting with Hae-mi. It is made clear that sustaining the bond he had with her was a priority for him, - to feel connected with someone. Jeon Jonh-seo plays Shin Hae-mi as a vivacious young woman, a stark contrast to the tone of the film and the other characters. The lively performance facilitates a more nuanced expression of the bleak ideas expressed in the film. Ben, as portrayed by Steven Yeun, delivers a confident and composed character, successfully evoking an atmosphere of mystery and suspicion. Yeun reflects a character that embodies an approachable and cheerful person, yet maintains a hidden side, harbouring malice.
‘Burning’ is a deep dive into the exploration of the basic needs and wants for anyone, - to be able to form a connection with someone, to sustain it, to derive joy from that relationship. The film showcases that family is not necessarily the source of those connections and we have to make our own way in the world to find that connection. This notion is further explored through an examination of how our society functions - giving priority to those who have more, thereby devaluing the sense of self anyone of a lower standing may have.
‘Burning’ is a fantastic film reflecting how people value one another and how far they will go to get what they want. The film masterfully expresses the desperation one can feel when they lose someone close to them, effectively making us feel the same sense of isolation and abandonment.
Score: 4/4
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