Director Kim Mi-jo, who gained attention at domestic and international film festivals with her debut film 'Seagull,' has released her first commercial film, 'Gyeongju Journey.' The film skillfully intertwines the heavy theme of personal revenge with elements of thriller, black comedy, and family drama, establishing her unique style. The film features a tight ensemble of veteran actors, each character vividly brought to life, expertly balancing moments of humor, sadness, and tension. The film's high level of craftsmanship ultimately stems from Kim's solid directorial skills.
"This film is a family drama. I thought it would be nice if the family members appeared in matching outfits, like a military unit. I wanted them to look like a united group, seemingly on a mission for revenge. However, as the story progresses, I wanted to depict the process of the family's disintegration as their inner wounds are revealed. I see it as a story of a family that gathers together but ultimately disassembles as each member reveals their true feelings," Kim said.
The setting of Gyeongju holds significance beyond just a filming location. The strange coexistence of the living and the dead, along with the tension and everyday life intersecting, originated from a landscape Kim encountered in 2014.
"In 2014, when I started making films, I traveled to Gyeongju with my family. As a child, I only thought of Gyeongju as a school trip destination, but visiting as an adult felt different. I saw laundry hanging next to tombs and houses nearby. I often thought, 'This is a city where the living and the dead coexist.' The irony was captivating. While walking next to Daereungwon in blue raincoats with my family, I suddenly thought, 'This looks like a visual of killing someone.' I took a photo, and that image became the starting point for 'Gyeongju Journey.'"
Despite the complex narrative involving numerous characters, Kim ensured that none were underutilized. It was her responsibility as a director to create an environment where veteran actors could fully showcase their talents.
"With so many characters, I often worried that some might be used merely as tools. Therefore, I paid close attention to character development and wanted to give each character a 'key scene.' The actors were all highly talented, and I didn't want to hear that I had written them in a certain way. I aimed to create a work that highlighted the ensemble of actors, focusing on each character's important moments," she explained.
'Gyeongju Journey' does not merely view tragic events as 'sad.' It blurs the lines between tragedy and comedy, solidifying its unique tone. This approach reflects Kim's everyday life and perspective.
"My father has a great sense of humor. The greatest legacy he gave me was the ability to see tragedy not just as tragedy. The atmosphere in my family is like that. I believe 'Gyeongju Journey' is essentially me. It naturally contains my way of viewing the world. While they are seeking revenge, I wondered if they would only focus on that. Wouldn't they get hungry? Wouldn't they need to use the restroom? Those thoughts naturally layered into the black comedy aspect of the film," she said.
The film also flows with the pain of those left behind after losing family members and the memories of social tragedies. It reflects the painful 'tragedies' that audiences who have lived in the same era as Kim are familiar with.
"I think many events I've seen and heard have naturally blended into the film. Incidents like the Sewol ferry disaster, the Sampoong Department Store collapse, the Sea Land incident, the Daegu subway disaster, the Itaewon tragedy, and even the 9/11 attacks. I have always been curious about why people could not return, why such events keep repeating, and how the survivors live afterward. Those questions seem to have naturally found their way into this film," she noted.
The collision of humor and tragedy, genre and reality, required meticulous calculation and coordination. Kim stated, "The biggest challenge was adjusting the film's tone," explaining that she refined the work through numerous takes and post-production efforts.
"While I had done black comedies and dramas in short films, this was my first time expanding into genres like this. When writing, I let my imagination run wild, but meeting the actors changed the texture. So, I worked extensively with the senior actors on various takes, shooting exaggerated versions and more realistic ones. While the film is shot in segments, the audience sees it as a whole. If the emotional lines were disconnected, it wouldn't work, so I had to approach it that way. In post-production, I worried about whether it would look like a mishmash, and I communicated with the music director about balancing tragedy and comedy, like '70% tragedy, 30% comedy.' It required continuous adjustments during editing," she explained.
Ok-sil's choices and conclusion do not aim for simple catharsis through good triumphing over evil. Instead, they confront the reality of "humans who must live with the fire in their hearts," aiming to resonate deeply with the audience.
"We often say, 'You must forgive.' But does forgiveness solve everything? What if you don't forgive? I've always been curious about that. Ok-sil is someone who has lost her husband and daughter. I believe that a single phrase like 'you must forgive' cannot comfort someone who has suffered such a deep wound. I was curious about what the face of someone who goes to the end looks like and what state they are in. I thought that the fire in Ok-sil's heart might only be extinguished by going through with it. I see her line, 'I was afraid I might forgive you,' as central to the story. For Ok-sil, not forgiving seems to be her way of repaying her feelings toward Gyeongju and her husband," she said.
The process of revenge leads to the departure of her daughters, leaving Ok-sil to confront Baek Sang-hyun alone, a core element that remained unchanged since the first draft.
"From the first draft, the structure of Ok-sil acting alone in committing the crime never changed. When I showed the script to various people, the most common question was, 'Would a mother choose to become a criminal with her children?' I thought that part might be difficult to grasp. What I wanted to convey was not that the family does something together, but that one person carries out what they believe in to the end. As the daughters express their feelings, they inevitably drift apart, leaving Ok-sil alone. Ultimately, I thought it was necessary for Ok-sil to face Baek Sang-hyun directly," she explained.
Kim's decision to fade out during Ok-sil's trial scene at the end of the film reflects her compassion. She expressed a desire to offer a warm perspective and hope for the character of Ok-sil.
"I faded out because I couldn't conclude that part myself. Ironically, I hoped that Ok-sil would receive 'leniency from the law.' However, I think what I desire and what is expressed in the film are different issues. There are complex problems between strict punishment and leniency. Some people continue to cry, and there are wounded families. I wanted to focus more on how those families can continue to live," she said.
Kim Mi-jo's perspective, which encompasses heavy social questions and genre entertainment, has broadened through this work. This journey, starting from intimate curiosity and expanding into empathy with others, has become a valuable milestone for the director as she moves to the next stage.
"In the past, I often made films because I wanted to see stories that intrigued me. However, 'Gyeongju Journey' is the first work I created while considering stories that might also intrigue others. During 'Seagull,' I wanted to see the process of a character resisting within a system, while 'Gyeongju Journey' explores family stories. It’s about a tragic journey where they collapse together but simultaneously discover each other. Just as interests change over time, I think the themes will continue to shift. When I tell stories, I often feel a sense of resolution. Having completed 'Gyeongju Journey,' I feel ready to move on to another topic after family stories."
* This article has been translated by AI.
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