Song Kang-ho, star of The Host and Parasite, is terrific as Kim. His paternal bearing and rumpled features make him a perfect representation of the put-upon Director. Denied immediately by the censors, Kim continues to work guerrilla style, taking increasingly desperate measures to complete his picture, and Song succeeds admirably in making us root for him as he tries to wrestle his film into worthwhile art, no matter how many people have to be tied up, drugged or nearly killed to make it happen. At the midway point of the film, he breaks down in his office, screaming into a pillow about “This cursed set. These wretched people.” But he seems to be the sole force creating the havoc we observe, as he snares an ever-growing cast of conspirators into his project, generally against their own interests.
“…Shin’s script gives the whole cast a delicious roster of crazy, funny roles to work with, and they all rise to the challenge…”
The rest of the leads are very well-rounded. Krystal Jung, formerly of K-pop girl group f(x), is delightfully aloof as up-and-coming starlet ‘Passionate’ Han Yu-rim, desperate to get away from Cobweb’s hot mess to work on a prestigious TV drama. Jeon Yeo-Been is terrific as his ambitious and sincere finance manager, the first of a series of human dominoes who fall in line with the creative vision of a man who is possessed by a possibly disastrous creative animus and who may just be a dangerous fraud. Oh Jung-se is suitably pathetic as the priapic lead. Every part is filled admirably, right down to a bit part actor who is so deeply involved in ‘the method’ for the screen policeman he plays that he walks around the set investigating the tragic accident that took Director Shin’s life. Jee-woon Kim’s adaptation of Yeon-Shick Shin’s script gives the whole cast a delicious roster of crazy, funny roles to work with, and they all rise to the challenge.
The film is confined almost entirely to Shinseong film studio, realised well by production designer Jeong Yi-jin, with its European sets for a church interior and factory giving some nicely exotic grain to the proceedings. The soundtrack by Mowg does a good job of showcasing the genre hysterics of the finished film and is backed up by some nicely chosen pop. Kim Ji-Yong’s photography and Jinmo Yang’s editing pull all the warring strands together decisively, lashing the crazed and elliptical narrative firmly in place.
This is a clever and intricately plotted film, ably managing to shuffle together comedy and drama and providing a particularly great showcase for the acting talent within. It may be a bit on the opaque side throughout, but it is worth sticking out to its dramatic resolution.
"…clever and intricately plotted film, ably managing to shuffle together comedy and drama..."
