【资料】2014《海雾》（金允石朴有天）4月1日法国17日本上映 各国影展还在继续

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AHN Sung-ki to Shine 13th Florence Korea Film Festival
by June Kim /  Mar 09, 2015
  
Introducing the K-War Program

Organized by the TAEGUKGI - Toscana Korea Association with support from the Korean Film Council (KOFIC), the Florence Korea Film Festival is about to enter its 13th year Korean cinema celebration. Opening on the 20th of March and running until the 30th, the festival will showcase a diverse and extensive lineup of 34 features and 11 shorts from Korea that are set to thriller audiences in Florence.

The programming this year ranges from commercial films such as KUNDO : Age of the Rampant, international festival favorites A Hard Day, A Girl at My Door, Mourning Grave, and Alive, to auteur films Hill of Freedom and One on One. The opening slot will be the number one all-time box office champion, KIM Han-min’s Roaring Currents while the closing film is also a nautical pic, SHIM Sung-bo’s Haemoo.

A new addition to the festival is the K-War section which has selected seven titles. Riccardo Gelli, the director of the festival said, "This initiative was conceived on the occasion of the centenary of the First World War, to understand how cinema described the war on the other side of the world.”

As per previous years, the Florence Korea Film Festival has invited a special guest, this year being veteran actor AHN Sung-ki. Recognizing his achievements through AHN’s filmography, works from his earlier days such as Our Joyful Young Days (1987) up to his most recent work with IM Kwon-taek, Revivre will be screened.

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평범한 사람들의 삶과 사랑으로 빚어낸 우리들의 세상
심성보 감독과 달시 파켓이 말하는 <해무>

                               
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지난여름 4편의 영화가 개봉했다. <군도: 민란의 시대>(윤종빈), <명량>(김한민), <해무>(심성보), <해적: 바다로 간 산적>(김석훈)가 그것이다. <명량>이 1750만 명의 관객을 동원하며 최종 승자가 되었지만, 나머지 세 작품 역시 관객은 물론 평단의 호평을 받으며 2014년 여름 극장가를 뜨겁게 달궜다. <영화천국>이 이번 호에서 주목한 영화는 심성보 감독의 <해무>다. 2014년 산세바스찬 영화제에서 본의 아니게 4박 5일간 동거(?)한 뒤 끈끈한 우정을 이어오고 있는 심성보 감독과 영화평론가 달시 파켓이 말하는 <해무>를 만나보자.

기록 및 정리 민병현 경영기획부 min@koreafilm.or.kr
조예슬 한국영상자료원 인턴
사진 이준구 포토그래퍼


연극 <해무>와 영화 <해무>

달시 파켓(이하 ‘달시’) 영화 <해무>는 동명의 연극을 원작으로 한 영화다. 먼저 연극을 영화로 옮겨야겠다고 결심하게 된 이유와 원작과 어떤 차별성을 갖고 시작했는지 묻고 싶다.

심성보(이하 ‘심’) 처음 연극 <해무>의 영화화를 제안받았을 때 이미 연극은 끝난 상태였다. 그래서 연극을 직접 보진 못했고, 캠코더로 찍은 기록용 영상을 볼 수 있었다. 보고 나니 이야기가 무척 매력적이더라. 평범한 사람들이 우연한 계기로 범죄에 휘말리게 되고, 그 이야기가 형사나 피해자의 시선이 아닌 그들 자신의 시점으로 진행된다는 점이 가장 좋았다. 더불어 메인 플롯을 사랑으로 끌고 나가는 것도 매력적이었다. 그렇게 <해무>를 만들기로 결심했는데, 연극을 영화화할 경우 등장인물 간에 갈등 관계가 조금 모호하게 보일 수 있다고 느껴졌다. 그대로 옮길 경우 관객들이 원하는 내러티브의 2/3 지점에서 끝날 것 같다랄까. 나머지 1/3을 채우기 위해선 선원들의 갈등이 좀 더 분명해야했다. 그래서 원작에서 무척 강했던 선원들의 공동체 의식을 조금 저하시키고, 개개인의 성격을 부각했다. (‘달시’ 반대로 원작 연극에서 꼭 살리고 싶었던 부분은 어떤 곳이었나?) 연극의 특성상 막이 전환될 때 암전되고 사운드로 이야기가 진행된다. 그 막과 막 사이의 여백이 무척 영화적으로 다가왔다. 영화에서 그 사이를 이미지로 보여주고 싶었고 그 장면을 상상으로 만들어냈다. 흥미로운 것은 영화에서 중요한 장면들은 우연치 않게 연극의 막과 막 사이의 이야기라는 것이다. 예컨대 밀항자가 넘어오는 장면도 연극에선 암전된 채 발소리와 비명 소리로 처리되었고, 마지막에 배가 침몰하는 장면도 연극에서는 “가자, 가자”라는 대사만 반복되고 실제로 침몰 자체를 보여주진 않았다. 그런 연극에서의 암전을 영화에 차용했다.

달시 이 영화가 데뷔작이지만, 이전에도 사랑에 대한 시나리오를 꽤 많이 써온 것으로 알고 있다. 그런 감독의 취향으로 봤을 때 <해무>는 결이 다른 영화가 아닐까 한다. 물론 동식(박유천)과 홍매(한예리)의 러브 라인이 영화를 이끌어가는 중요한 요소이지만, 평범한 사람들의 범죄, 그로 인한 갈등 등 여러 가지 포인트가 있는 영화다.

심 동의한다. 물론 그 동안 작업했던 시나리오들은 분명 <해무>와 다르다. 사실 이 영화는 처음에 (영화의 제작자이기도 한)봉준호 감독으로부터 제안을 받았다. 아마 <살인의 추억>(봉준호, 2003) 각본에 참여한 이력 때문에 영화의 가장 중요한 포인트가 되는 범죄에 관해 잘 다룰 것이라 판단한 것 같다. 그리고 남녀에 관한 시나리오를 계속 써왔다는 것도 봉준호 감독이 잘 알고 있어서 동식과 홍매의 러브 라인도 잘 표현할 것이라 생각한 것 같다. 개인적으로 남녀 이야기를 좋아한다. 아마 많은 여자를 만나보질 못해서 그런 것 같다.(일동 웃음) 영화를 시작하게 된 계기도 우디 앨런 감독의 전성기 작품을 보고부터다. 전성기 그의 작품 대부분이 남녀 이야기지 않나. 거기서 많은 영향을 받은 것 같다.

달시 봉준호 감독은 영화를 제작하면서 어떤 주문을 했나.

심 봉준호 감독은 당시 <설국열차>(2013) 제작 때문에 체코에 있어서 많은 대화를 나누진 못했다. 단, 기획 단계에서 봉준호 감독은 <해무>의 큰 원칙을 조언해줬는데, ‘동식과 홍매의 사랑을 끝까지 순수한 감정으로 가져갔으면 좋겠다’라는 것이었다. 그것이 가장 중요한, 그리고 거의 유일한 원칙이었다. 실제로 캐릭터를 구축할 때 그 원칙을 새기고 시나리오를 썼다.


항구, 그리고 어선이라는 공간적 배경

달시 영화는 IMF외환위기 직후를 다루고, 여수를 배경으로 촬영했다. 시간과 공간 설정에서 특별히 염두에 둔 점이 있나.

심 원작은 시간을 2000년대 초반으로 설정했다. 영화는 그보다 조금 빠른 1990년대 후반 IMF 시절로 바꿨는데, 조사 과정에서 IMF외환위기 당시 어선의 수가 급격하게 줄었다는 것을 알 수 있었다. 당시 은행 이자가 높았기 때문에 선주들은 어선을 처분하고 보상금을 받은 뒤 그 돈을 은행에 넣어둔 경우가 많았다고 한다. 실제로 어선 운영으로 버는 수입보다 은행 이자수익이 더 좋았다더라. 그래서 당시 많은 선주가 배를 처분했다. 하지만 선주가 배를 폐선시키면 선장과 선원들은 순식간에 실직자가 될 수밖에 없다. 이러한 시대적 상황을 <해무>와 연결했다. 선장이 왜 밀항을 선택할 수밖에 없었는지, 그리고 선장이 왜 그토록 배를 소중히 생각하는지 말이다. 그리고 배경이 된 공간은 여수의 조그만 항구인데 항구의 규모가 너무 크면 관객의 시선이 분산될 것 같아서 크지 않은 항구를 조사하던 중 여수 항구가 적절하다고 판단해 선택했다.

달시 <해무>의 이야기는 대부분 어선에서 전개된다. 더불어서 영화의 중반 이후부터는 등장인물도 많지 않다. 한정된 공간과 그 안에 있는 제한적 인물. 이 두 가지는 분명 이야기를 진행하고 표현하는 데 쉽지 않은 장치다.

심 큰 어려움은 없었다. 우선 전진호라는 배 안에서 이야기의 대부분을 소화해야 하지만 사실 이 배는 세상의 축소판이라 볼 수 있다. 그 안의 제한적 인물들 역시 우리 주변에서 볼 수 있는 군상의 축소판이다. 따라서 배우들에게 자신이 맡은 역할을 하나의 키워드로 정리해 이해시키는 것이 가능했다. 선장은 ‘배’, 동식은 ‘사랑’, 창욱은 ‘여자’ 이런 식으로 키워드를 정리했는데 배우들이 자신의 역할을 매우 잘 소화해줬다.


<해무>를 이끄는 또 하나의 힘, 주조연 배우들

달시 배우들에 대해 이야기해보자. <해무>는 소재가 독특하고, 구성이 탄탄해서 개봉 당시 비평가들 사이에서 화제를 모은 바있다. 여기에 더불어 영화를 이끌어가는 또 하나의 중요한 축이 바로 배우들이었다. 김윤석을 비롯해 문성근, 이희준, 김상호 등 이른바 연기파 배우들이 포진해 있고, 영화 출연은 처음이지만 드라마로 연기력을 인정받은 박유천과 독립영화로 연기력을 탄탄히 다져온 한예리가 나온다. 누구 하나 언급하지 않을 수 없다.(웃음) 먼저 선장, 김윤석은 시나리오 단계부터 염두에 둔 배우인가.

심 그렇다. 선장 철주 역은 김윤석이 아니면 맡을 수 없는 인물이라고 생각했다. 사실 영화를 안 봤다면 <해무>의 김윤석이 이전에 맡았던 캐릭터와 유사할 것이라 생각할 것이다. 하지만 개봉 당시 관객들로부터 김윤석이 이전 작품에서 보여준 인물들과 다르다는 반응을 많이 받았다. 물론 특정 장면에서 이 배우의 이전 작품들이 떠오를 수도 있지만 그것은 어디까지나 김윤석이라는 배우의 힘이라 생각한다. 그리고 시나리오 단계에서 김윤석을 결정한 결정적인 이유는 ‘기관실에서 기관장 완호(문성근)와 대립하는 신’을 쓸 때였다. 여기서 완호를 죽이고 선장이 눈물을 글썽이는 것으로 표현했는데, 그 장면을 쓰는 순간 김윤석밖에 생각나지 않았다.

달시 그 기관실 장면이 극 중에서 가장 에너지가 폭발하는 장면이라 생각한다. 오랜 기간 서로 의지하며 살던 선장과 기관장의 갈등이 최고조가 되는 신인데, 개인적으로도 그렇고 그 장면에 서 관객의 몰입도가 가장 높았을 것이라 생각한다. 이것은 김윤석과 문성근이 가진 힘이 아닐까 한다.

심 김윤석과 문성근의 연기 대결이기도 하다.(웃음) 두 배우의 연기를 보는 것만으로도 충분한 재미가 있었다. 사실 문성근이 맡은 완호가 애초 생각했던 캐릭터와 가장 달라진 인물이다. 완호라는 인물을 구축할 때 문성근 선배에게 도움을 많이 받았다. 애초의 시나리오에서 완호는 늙고 불쌍한, 그냥 짐만 되는 인물이었다. 문성근 선배에게 가장 고마운 것은 극 중 성격이 급격히 변하는 캐릭터의 중심을 잘 잡아준 점이다. <해무>에서는 사건이 일어나고 인물의 성격이 모두 변한다. 그중에 가장 확실히, 그리고 빨리 변하는 인물이 바로 완호다. 자칫하면 급작스레 이상 행동을 보이는 완호가 관객에게 이질감을 줄 수도 있었다. 하지만 완호가 어느 순간 정신줄을 놓아야 배의 상황이 보다 리얼하게 보일 것 같았다.(일동 웃음) 그리고 그 정상과 비정상을 넘나드는 선을 문성근 선배가 잘 잡아주었다. 감사할 따름이다. 이신을 김윤석과 문성근의 힘이라고 표현했는데, 동의하고 그렇기 때문에 그 신은 큰 부담이 없었다. 오히려 이들을 지켜보는 동식과 홍매가 관객에게 어떻게 보여질 것인지에 대해 걱정했다.

달시 이야기가 자연스럽게 이어진다.(웃음) <해무>에서 큰 축을 담당하는 것이 동식과 홍매의 사랑이다. 박유천과 한예리에 대해 말해달라.

심 동식의 경우, 연극보다는 어리고 뱃일도 갓 시작한 막내 선원 이미지를 생각했을 때 20대 중・후반 배우를 캐스팅해야 했다. 박유천을 만났을 때 동식 역할에 대한 자신만의 해석과 열의가 무척 많아 인상 깊었다. 그것이 그가 가진 팬이나 이전 작품을 고려하지 않고 캐스팅할 수 있었던 이유다. 그리고 박유천은 가수 출신 연기자 중에서도 꽤 독특한 이미지다. 얼굴에서 묘한 분위기를 풍기기도 하고. 다만 영화는 처음이고, 첫 주연작이라는 점, 그리고 경험 많은 배우들과 끊임없이 부딪쳐가며 연기해야 하는 것이 걱정되긴 했다. 하지만 그 바쁜 박유천이 영화를 위해 스케줄을 통째로 비워둘 정도로 열정이 대단했고 누구보다 열심히 했다. 그런 성실함 때문에 신인상도 많이 탄 게 아닐까 한다. 뿌듯하다.
한예리의 경우 이미 유사한 역할을 몇 번 했기 때문에(웃음) 나에게는 굉장히 익숙한 배우였다. 개인적으로 배우는 목소리가 중요하다고 생각하는데 한예리의 중저음 목소리를 좋아한다. 그리고 한예리는 갑자기 스타가 된 게 아니고 독립영화부터 차근차근 밟아왔기에 여배우로서 다소 힘들 수 있는 수중촬영도 잘 견뎌주지 않았나 생각한다.


선과 악이 모호한 세상의 축소판, 전진호

달시 <해무>는 악인이 없는 영화다. 모든 이야기에는 갈등이 있는데, <해무>의 갈등은 선악의 구도가 아니라는 점이 눈여겨 볼 만하다. 심지어 선주도 악인이라기보다 현실에 충분히 있을 법한 사람으로 등장한다.

심 실제로 영화 개봉 후 관객에게 많이 들었던 이야기 중 하나다. 악인이 등장하지 않는 이유는 평범한 사람들의 이야기이기 때문이다. 예를 들어 아주 건실하고 평범한 가족이 열심히 돈을 모아 집을 사고 세입자를 들인다. 그런데 방세가 올라 전세 보증금을 크게 올리거나 내보내야 하는 상황이 생길 수 있다. 현실적으로 공감은 되지만 세입자 입장에서 집주인은 잔인한 사람이 될 수도 있지 않나. <해무>도 마찬가지인 것 같다. 누구나 공감할 수 있지만 어떤 관점에선 잔인하고 어떤 관점에선 연민을 느낄 수도 있다.

달시 또 하나 특이한 것은 연극에는 없던 동식이 등장하는 엔딩이 있다는 것이다.

심 그렇다. 광기에 휩싸인 선원들만 있는 절망적인 상황에서도 가장 중요한 것이 무엇일까를 질문했을 때 나는 그것이 사랑이라고 생각했다. 동식과 홍매의 사랑이 진정한 사랑이었는지 아닌지는 재단할 수 없고, 관객이 판단할 몫이지만 결과적으로 사랑이 중요하다는 것에는 이견이 없을 것이다. 그리고 무엇보다 상업영화에서 중요하게 고려해야 할 것은 주인공이 승리자가 되는 것이다. 그래서 사랑에 집착한 동식이 살아남은 것은 어찌보면 당연한 결과다. 하지만 엔딩이 판타지로만 치부될 것 같아 적당히 현실감을 섞었다.

달시 하와이 국제영화제 등 다수의 영화제에 초청되었다. 현지의 반응은 어땠나.

심 신인 감독이라 그런지 특별한 반응을 기대하거나 예상하진 못했다. 하지만 외국 관객 역시 이야기를 따라가고 한국 관객과 비슷한 감정을 느낀다는 것이 놀라웠다. 재미있는 것은 스페인 관객들의 반응이 뜨거웠다는 것이다. 유럽 사회에서 밀항은 큰 사회적 이슈라고 한다. 그 사회에선 밀항 사건이 1년마다 한번씩 크게 일어나고 사건의 내막을 파헤쳐보면 <해무>보다 훨씬 더 잔혹하다고 한다. 그래서인지 선원들의 선택에 대해서 한국관객보다 더 깊이 공감하더라.

달시 앞으로의 계획은 어떤가.

심 원래 계획이라는 것은 변하라고 있는 것이다. 두 달 전 인터뷰했을 때도 같은 질문을 받았는데 지금은 그때와 다르게 또 계획이 변했다.(일동 웃음) 현재는 일본 소설에 관심을 갖고 이 소설을 영화화하는 것을 검토 중이다. 계획은 늘 변하지만 <해무>를 만들고 한 가지 확실한 계획이 생겼다. ‘평범한 사람’ ‘범죄’ ‘사랑’. 이것이 내 영화의 키워드가 된 것이다. 큰 틀에서 이러한 맥락을 가지고 작품을 만들 것이다.


공공누리 1 유형마크
제1유형:출처표시 (출처표시/상업적,비상업적 이용가능 / 변형 등 2차적 저작물 작성 가능)
by 민병현(경영기획부) | 2015-03-18
이전글 : 이전글이 없습니다.
다음글 : 다음글이 없습니다.
키워드        
관련영화        
관련영화인
=====================
@暖日呀呀
【3/18：#海霧#沈成寶導演專訪提及#朴有天#】
考慮到東植是比演劇中更年輕，才剛開始跑船的老么船員形象，故必須選角20代中後半的演員。
與朴有天見面時，他對東植的獨有見解和熱情，令我印象深刻。
這是不考慮他所擁有的粉絲或以前作品，選角他的理由。
此外朴有天在歌手出身演員中也具有頗為獨特的形象，臉龐散發出微妙的氛圍。
曾對是首度拍電影、亦是首部主演作這點，及需跟老經驗的前輩們不斷對戲有過擔心。
但那麼忙碌的朴有天卻為了電影全盤騰出行程的熱情很不簡單，比任何人都努力去做。
大概也因這樣的認真態度而獲得許多新人獎，我很欣慰。

corona0911

http://waytooindie.com/review/movie/haemoo-ndnf-review/

Haemoo (ND/NF Review)
By C.J. Prince  @cj_prin on March 17, 2015

Life and death at sea make for a gripping tale from first-time director Shim Sung-Bo.

A nautical thriller with a surprisingly nasty mean streak, Shim Sung-Bo’s Haemoo is an impressive debut feature for the South Korean screenwriter. Shim, who has a working relationship with director Bong Joon-Ho—Shim co-wrote Memories of Murder, and Bong shares a writing credit on Haemoo with Shim—doesn’t reach the same levels as his masterful collaborator, but Haemoo shows Shim has plenty of potential to reach those same heights one day.

Taking place in the late ’90s, shortly after the Asian financial crisis of 1997, Haemoo immediately establishes a tone of desperation with its characters. On the old, rundown fishing ship “Junjin,” Captain Kang (Kim Yoon-seok) finds himself in a bit of trouble. With his crew not catching enough fish on their most recent trip, and his boss trying to sell off the boat to earn some quick cash, it won’t be long before he’s out of a job. With little to no options left for Kang and his coworkers, he takes a deal to smuggle Chinese-Korean immigrants on “Junjin” in order to stay afloat.

With that relatively brief set-up, Kang and his crew head off to pick up their illegal cargo. Kang’s crew is where Shim has the most trouble with his film, reducing the majority of the supporting cast to annoying, one-note characters. The only exceptions would be Dong-sik (Park Yu-chun), a young crew member who doesn’t seem to fit in too well, and Wan-ho (Moon Sung-keun), the ship’s elder and chief engineer. The rest of the crew is reduced to childish horndogs, excited about the trip for the chance to hook up with some of the female immigrants on board.

After an intense sequence showing the immigrants trying to jump on Kang’s boat during a storm, a small romance begins blossoming between Dong-sik and Hong-mae (Han Ye-ri), a young woman Dong-sik rescues from the sea after she falls in during the transfer. Chemistry between the two feels forced, but that’s kind of the point; Dong-sik’s feelings for Hong-mae resemble those of a high school crush, and Hong-mae certainly isn’t having any of it. Shim begins profiling some of the immigrants on board—including an agitator trying to cause a mutiny, and a woman sleeping with crew members in order to get better treatment—setting up what looks like an odd couple story between the ship’s hard-nosed crew and their wily cargo.

But anyone familiar with South Korea’s recent cinematic output, or any of Bong Joon-Ho’s films, knows that subverting expectations is this country’s bread and butter. Things take a shocking turn around the halfway mark, and suddenly Haemoo becomes a whole other film. As a sea fog rolls in—“Haemoo” literally translates to “sea fog”—the foggy haze covering the boat becomes symbolic. What was once clear is now hard to see, and under the cover of the fog, Kang and his crew succumb to their immoral, selfish survival instincts.

Surprisingly, given Shim and Bong’s previous writing credits, the biggest issues with Haemoo come from the screenplay. Both writers have an excellent handle on pacing, with the second half steadily ratcheting up the tension as things continue to take a turn for the worst, but their handling of characters leaves a lot to be desired. The forced romance between Dong-sik and Hong-mae transitions into a real one rather suddenly, leading to an incredibly awkward sex scene after one character is murdered in cold blood right in front of them. The underdeveloped supporting cast only get more grating once the stakes get higher, functioning as nothing more than barriers preventing the protagonists from reaching a happy ending. The poor characterizations wind up clashing with the mostly excellent structure and plotting of the screenplay, producing a final result that’s frustratingly flawed.

The same can’t be said for Shim’s direction, as he shows a remarkably assured hand behind the camera. He handles the film’s sharp tonal shifts with ease, and with the help of cinematographer Hong Kyeong-pyo sustains an eerie mood once the thick sea fog envelops the boat and its surroundings. Park does a serviceable job as the young Dong-sik, but Kim Yoon-seok is the cast’s MVP as Captain Kang. Kim, who some fans of South Korean’s new wave might recognize from The Chaser, makes Kang a likable yet intimidating force, a man fueled purely by his need to survive. And while the film has more than a few issues with its screenplay, Haemoo is still a fun ride for the most part. It’s yet another example of how South Korea continues to beat Hollywood at its own game, combining different genre elements into something appealing, entertaining and refreshingly mature.

Haemoo (ND/NF Review) Movie review
7/10

corona0911

http://blog.naver.com/latinfilmkor
https://www.facebook.com/latinfilmkor
http://www.dureraum.org/bcc/mcon ... rogCode=20150306001

http://news.heraldcorp.com/view.php?ud=20150320000420&md=20150320105545_BL
“韩国中南美洲电影节”将于本月21日至30日在釜山电影殿堂举行。将免费放映正在世界影坛上跃进且把握潮流的中南美洲电影代表作10篇，以及严格选拔出的5部韩国作品(《自由之丘》《国际市场》《#海雾#》《韩公主》《新世界》)，吸收中南美洲电影精髓的同时享受多样韩国电影在剧场中再次见面的机会。

                               
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corona0911

http://japancinema.net/2015/03/20/haemoo-review/

TEM REVIEWED
Haemoo – Review

AUTHOR
Marcello

SYNOPSIS
A fishing-boat crew takes on a dangerous commission to smuggle a group of illegal immigrants from China to Korea.

COUNTRY
South Korea

DIRECTED BY
Sung-bo Shim

MORE SOLID WORK FROM KOREA.
I consider Snowpiercer to be one of the best films to come out of 2013, and Joon-ho Bong’s co-scripting duties on Haemoo was what attracted me to Haemoo. While first time director, and co-script(er) Sung Bo Shim took over directorial duties for Haemoo, it is with Snowpiercer that the film will most draw comparisons. Although they couldn’t be more different in terms of scripting, plot, or even the message they aim to get across, they are both a gritty, bleak look at humanity’s darker side, and in both cases, play their conflicts out in locations that mirror the messages the films are trying to get across. As Snowpiercer traces a revolution that begins in the bleak lower classes back carriages of the last remaining train on Earth, moves through the empowered, and autonomous middle class cars and ends at the apathetic, electronically numb upper classes carriages, the audience are treated to a class warfare fueled journey through the entirely of our world.

Bo Shim, here, plays his tale out on a small fishing vessel, and a desperate captain, who decides to transport human cargo when business runs slow. As in Snowpiercer, the fishing vessel, and the ocean it travels on, reflect the mental state of the crew. Clear waters and sunny oceans start their journey, dark stormy waters mark their arrival to pick up the new cargo and as the crew start breaking and coming to terms with what they’ve been forced to do, the Haemoo (sea fog) sets in, blinding our screens, and trapping the vessel in ethereal limbo. Bo Shim takes visual clues from Joon-ho Bong and dresses up the three areas of the ship according to their roles: the uppers decks are gray and steely, the fish hold (a very bad place) is dark and bleak, and the engine room, the only ‘sanctuary’ for a large part of the film, is decked in shades warm yellow and brown. The film looks stark and visceral, and everything, from the script to the acting, helps get that across.


All the sights and sounds would be a waste without a solid script to back it up, and the movie does not disappoint. Haemoo throws average, ordinary, salt of the earth people into desperate situations that shatter, twist and test them. The movie’s first act traces the lives of these fishermen, on and off land, and shows them going about their lives. The writing in these parts is so authentic that it’s hard not to view them as real people, with real, crappy jobs by the time they head back off to sea. It is through these unremarkable and slow sequences (a charming little love story on the boat takes the better part of the first hour) that the script manages to put us at ease. The final act culminates in one of the most haunting sequences you will see this year on the big screen, and ends with a perfect ending: unapologetic, chaotic, confusing, without closure. Real.


I find it hard to imagine anyone walking away from this film unscathed. How could ordinary people do these acts? Was there something dark inside them all along? Perhaps the things they were forced to do shattered their minds? Perhaps there something dark and twisted in everyone? These are questions I should stop asking myself, but I can’t. Haemoo is a masterpiece, and excels in getting under your skin and affecting you on a very primal level. This is a movie you need to watch, and with an excellent score to boot, one you should want to.

corona0911

@pushingredbuttons
Tonight at MOMA Film...Director Shim Sung-bo at the New Directors/New Films festival introduced his remarkable directorial debut "Haemoo". #Haemoo #ShimSungbo #FilmDirectors #FilmScreenings #NDNF #NewDirectorsNewFilms #KoreanFilms #KoreanDirectors #DebutFilms #MOMAFilms #FilmFestivals #NYC #NewYorkCity

                               
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@carayeates
Bong Joon-ho, Shim Sung-bo and Rajendra Roy at the #NDNF screening of Haemoo. #momafilm #filmlinc #film

                               
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corona0911

http://newdirectors.org/blog/new ... bo-haemoo-interview

Meet the (New) Director: Shim Sung-bo ‘Haemoo’



Shim Sung-bo, the acclaimed screenwriter of Bong Joon-ho's Memories of Murder, takes the director’s chair for his debut feature about human smugglers on the high seas. Haemoo screens on Friday and Saturday as part of the 44th annual New Directors/New Films series, currently underway through March 29. Shim Sung-bo talks respect for his actors and the struggles of filming on a ship in his comments to FilmLinc.

Haemoo
Shim Sung-bo, South Korea, 2014, 111m

Description: First-time director Shim Sung-bo (screenwriter of Memories of Murder, the second film by Haemoo’s producer Bong Joon-ho) distills a gripping drama from a real life incident and delivers a gritty, brooding spectacle of life and death on the high seas. With the country in the throes of an economic crisis, the captain of the run-down fishing boat Junjin sets out with his five-man crew to smuggle a group of Korean-Chinese illegal immigrants. During the hair-raising transfer of their human cargo from a freighter, rookie fisherman Dong-sik (Park Yu-chun) saves the life of Hong-mae (Han Ye-ri). Smitten and solicitous, he shelters the young woman in the engine room. But after a tense coast-guard inspection, things go horribly wrong and as the titular sea fog rolls in, the captain forces his crew to set a new course—from which there’s no turning back.

Responses from Shim Sung-bo:

On finding a connection to the real world:

I was a literature major in college. In my junior year, I suddenly felt suffocated—like my life was trapped in books. I craved something more lively that would connect me to the real world. Then "cinema" flashed in front of me. So after graduation I began film school.

On crimes committed by ordinary people:

I was mesmerized by the stage play Haemoo. It depicts the experience of ordinary people getting involved in crime, not from the detective’s point of view, but from theirs. It’s a story about people protecting their loved ones even when their lives are falling apart—it’s a tale of crime and love. These were the subjects that I wanted to portray, and Haemoo has both.

On respect for the actor’s vision:

While we were filming, I listened carefully to the actors, especially the six sailors. I tried to respect their interpretations of each character. As a result, I was able to reinforce the characters’ more humane aspects. Also, I focused on resolving all their questions about story development and situations. This is an actor-driven film. I consider myself very lucky to have worked with them.

On the difficulty of shooting on a boat at sea:

The biggest challenge was that most of the story takes place on a not-so-big ship on the open sea. The shooting was strenuous, and it could easily have made the film appear monotonous.

On finding new inspiration in a novel:

While I was promoting this film, I remembered a Japanese novel that I read 10 years ago about losing memories. The story also deals with crime and love. It’s a little too early to share the name of the novel, but I’m really into it at the moment.

corona0911

@Maxine6002

Director Shim was at MOMA tonight for presenting #Haemoo and had the Q&A sesion.

Shim: I always like to show a story of average men turning into criminal

Q: Was the young man the real person.
Shim: It's based on the play, isn't based on True story

Shim: the first scene I wanted to portray was the daily lives of fisherman and hoped to bring pity from viewers

Shim: Characterization of each 6 crew member was my focus in adapting the play in cinema

Shim: Except me, all film crew were best in class. 70% was filmed on the sea water. Also used CG as supplementary use

Q: Technical quality of the film was outstanding. How did you do that?

Shim: wasn't my intention to show political msg, but I wanted to depict the era

Shim: Sea fog was used as the background and through Haemoo I wanted to tell the situation we are hopeless

Shim: it's actually based the play which was taken from the true story

Shim: Love was the most angle we wanted to show in Haemoo

Shim: Even though it was based on the real event, the main theme was love.

"Selected this genre film with the director Shim Sung Bo who has own voice"

jqlalice

在海雾里有天真是完全抛开了偶像包袱，付出了很多努力，得到这么多肯定和奖项说明辛苦的付出有了回报。
我们家天锅锅也因此获得了成新人奖五冠王，真的是太棒了

corona0911

http://www.filmlinc.com/daily/en ... bo-haemoo-interview
Meet the (New) Director: Shim Sung-bo ‘Haemoo’

POSTED BY RACHEL DEL GIUDICE ON 3.19.2015

  


Shim Sung-bo, the acclaimed screenwriter of Bong Joon-ho's Memories of Murder, takes the director’s chair for his debut feature about human smugglers on the high seas. Haemoo screens on Friday and Saturday as part of the 44th annual New Directors/New Films series, currently underway through March 29. Shim Sung-bo talks respect for his actors and the struggles of filming on a ship in his comments to FilmLinc.

Haemoo
Shim Sung-bo, South Korea, 2014, 111m

Description: First-time director Shim Sung-bo (screenwriter of Memories of Murder, the second film by Haemoo’s producer Bong Joon-ho) distills a gripping drama from a real life incident and delivers a gritty, brooding spectacle of life and death on the high seas. With the country in the throes of an economic crisis, the captain of the run-down fishing boat Junjin sets out with his five-man crew to smuggle a group of Korean-Chinese illegal immigrants. During the hair-raising transfer of their human cargo from a freighter, rookie fisherman Dong-sik (Park Yu-chun) saves the life of Hong-mae (Han Ye-ri). Smitten and solicitous, he shelters the young woman in the engine room. But after a tense coast-guard inspection, things go horribly wrong and as the titular sea fog rolls in, the captain forces his crew to set a new course—from which there’s no turning back.

Responses from Shim Sung-bo:

On finding a connection to the real world:

I was a literature major in college. In my junior year, I suddenly felt suffocated—like my life was trapped in books. I craved something more lively that would connect me to the real world. Then "cinema" flashed in front of me. So after graduation I began film school.

On crimes committed by ordinary people:

I was mesmerized by the stage play Haemoo. It depicts the experience of ordinary people getting involved in crime, not from the detective’s point of view, but from theirs. It’s a story about people protecting their loved ones even when their lives are falling apart—it’s a tale of crime and love. These were the subjects that I wanted to portray, and Haemoo has both.

On respect for the actor’s vision:

While we were filming, I listened carefully to the actors, especially the six sailors. I tried to respect their interpretations of each character. As a result, I was able to reinforce the characters’ more humane aspects. Also, I focused on resolving all their questions about story development and situations. This is an actor-driven film. I consider myself very lucky to have worked with them.

On the difficulty of shooting on a boat at sea:

The biggest challenge was that most of the story takes place on a not-so-big ship on the open sea. The shooting was strenuous, and it could easily have made the film appear monotonous.

On finding new inspiration in a novel:

While I was promoting this film, I remembered a Japanese novel that I read 10 years ago about losing memories. The story also deals with crime and love. It’s a little too early to share the name of the novel, but I’m really into it at the moment.

http://linkis.com/www.timeout.com/newy/5blrk

corona0911

http://thedivareview.com/Haemoo_Shim_Sung-bo_Exclusive_Interview.htm

An award-winning, box office hit in its native Korea, Shim Sung-bo’s directorial debut, Haemoo {Sea Fog} made its New York premiere at Lincoln Center’s New Directors/New Films Festival.

Primarily regarded for his screenwriting collaboration with Bong Joon-ho on the now-classic, Memories of Murder, Shim spoke with us about what it took to direct this first feature, having Bong as his producer, and casting one of Korea’s top idols.

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Haemoo

Director Shim Sung-bo

                               
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The Lady Miz Diva:  When you spoke of Bong Joon-ho before we began our interview, you called him your boss.  What is it like to work with him as the producer of Haemoo, since you have been writing partners for so long?

Shim Sung-bo:  It was like a big umbrella for me, definitely.  For example, the character of Chang-wook would not have been possible if Bong Joon-ho had not been present.  So, that’s just one of a lot of examples.


LMD:  Was he supportive and encouraging when you decided to direct your first feature?

SSb:  There really is not a defined line in Korea between an assistant director and a screenwriter.  So, one way of becoming a director is going through the position of scriptwriter.  It’s just that in my case it took a little longer than some others, but that’s also how complicated the development the Korean movie industry is right now.  Like there was this one script that I worked on for really long time that did not get made into a movie, and that was a love story between a man and a woman, and Bong read all the different versions of that script.  And I believe that my working on or making that type of a love story would serve me well in directing this type of movie in Haemoo; I think that’s why he recommended that I do this.


LMD:  Was the actual experience of directing different than what you had imagined before taking on this film?

SSb:  It couldn’t be more different.  Even when you try to be as detailed and specific in your script, when you actually got to the scene on the set, there would be so many holes, and those holes were mostly filled by the wonderful cast.


LMD:  Speaking of the wonderful cast, there’s a rather famous pop music idol in your film…

SSb:  Ah, {Park} Yoochun?


LMD:  Yes.  While he has done television dramas, I believe he only made a cameo appearance as himself in a movie years ago, so this is really his first feature acting role.  What was it about him that made you feel that this person was going to be my romantic lead?

SSb:  I think he was kind of fearless, that was one reason.  He really projected this image of a good person, of goodness, and also I got really good vibes from him.  And it’s not that we have a lot of male actors who are well into their 20s, and Yoochun really wanted to do this role.  And you know how if you’re an idol, it’s extremely difficult for an idol to feel fondness for this type of character.

So, what we believed was, because he would be surrounded by the rest of the cast who are all veterans and amazingly experienced actors; we felt that as long as he could leave his schedule open, so he would have days to shoot together and work with the actors, they would be able to really fill in - that he would really be able to identify and kind of melt into the rest of the actors and be able to do his part just fine.  And he was really so into this movie, that except for a few little schedules that he had to do, he really was able to concentrate on this movie.  And from the level of his management company, that was a very difficult decision to make.


LMD:  The film goes to some very dark places at times, and as Yoochun is such a famous idol, I wonder if there was any pushback or hesitation from himself or his management about portraying some of the darker aspects of the film?

SSb:  Not at all.


LMD:  Can you talk about working with Mr. Kim Yoon-seok on the role of the captain?  He’s like a great mixture of Robert Shaw in Jaws and Captain Ahab from Moby Dick.  The captain is always a seething, bubbling cauldron of emotions, but you never know how he’s going to blow. What kind of notes did you give Mr. Kim regarding playing this character?

SSb:  He and I talked a lot about the scenario.  So, after I met him and he signed on, I actually rewrote the script before we began to shoot, and in the rewrite, the keyword was pathos, or pathetic love.  And before the rewrite, the version before that actually had the captain becoming almost one with the sea fog and kind of attacking Dong-sik and Hong-mae almost like he was going to eat them up.  But during the rewrite, I decided to identify him with the boat - couple him with the boat.


LMD:  How does the Captain justify the things he does? Was he just going crazy? Is this the true essence of what it means to be evil? Thinking of that reminded me of Memories of Murder, and I wondered if as a writer, you are fascinated by what drives people to the edge of sanity or morality?

SSb:  I don’t think there is any fully evil person in this movie.  We really never talked about it.  It was never spoken when we prepared this movie that we would be portraying any evilness.

The responsibility of a captain is to make the most realistic decisions and determinations.  It’s just that it just happens that each of his choices sort of drove not only him, but other people into this kind of valley, into the swamp of tragedy, like a spiral.


LMD:  Watching this film, I couldn’t help but be reminded of some similarities - perhaps in the morality of the crew, or the way certain things were handled on the ship with regard to the passengers - to the reports of the terrible Sewol ferry tragedy last year.  I wondered if there was any mention of that from the Korean media?

SSb:  You know, I didn’t even pay any attention to it.


LMD:  Now having wet your feet as a director, has it encouraged you to make more films?  Would you consider directing a screenplay you didn’t write?

SSb:  You know, what I really feel is that I do not have the ability to create something from absolutely nothing; so I really believe that I need to meet a great story first.  But I would like to do the adaptation myself, and I would like to direct that adaptation myself, as well.


LMD:  Do you have anything planned?

SSb:  I can’t disclose that because we are still getting the rights.


LMD:  What do you wish for Haemoo to bring to international audiences?

SSb:  You know, this movie is slated to open in some big markets, and there are some big markets for which this movie has yet to be decided when and whether it will open, but I think just overall, I’m just so encouraged and gratified by the positive reaction.  And what really makes me sort of happy and empowers me, is the fact that something that I really like, something that I really feel passionately about, is something that can be identified with. Something that is felt by other people, as well.  Especially internationally, and that is just an amazing feeling to know.



~ The Lady Miz Diva

March 21st, 2015

corona0911

http://twitchfilm.com/2015/03/nd ... helm-on-haemoo.html

ND/NF Interview: Shim Sung-bo Talks About Taking The Helm On HAEMOO

A box office hit in its native Korea, Shim Sung-bo's directorial debut, HAEMOO {Sea Fog} made its New York premiere at Lincoln Center's New Directors/New Films Festival.  Regarded for his screenwriting collaboration with Bong Joon-ho on the now-classic, Memories of Murder, Shim spoke with us about what it took to direct this first feature, having Bong as his producer, and casting one of Korea's top idols.


The Lady Miz Diva:  When you spoke of Bong Joon-ho before we began our interview, you called him your boss.  What is it like to work with him as the producer of HAEMOO, since you have been writing partners for so long?

Shim Sung-bo:  It was like a big umbrella for me, definitely.  For example, the character of Chang-wook would not have been possible if Bong Joon-ho had not been present.  So, that's just one of a lot of examples.

LMD:  Was he supportive and encouraging when you decided to direct your first feature?

SSb:  There really is not a defined line in Korea between an assistant director and a screenwriter.  So, one way of becoming a director is going through the position of scriptwriter.  It's just that in my case it took a little longer than some others, but that's also how complicated the development the Korean movie industry is right now.  Like there was this one script that I worked on for really long time that did not get made into a movie, and that was a love story between a man and a woman, and Bong read all the different versions of that script.  And I believe that my working on or making that type of a love story would serve me well in directing this type of movie in HAEMOO; I think that's why he recommended that I do this.

LMD:  Was the actual experience of directing different than what you had imagined before taking on this film?

SSb:  It couldn't be more different.  Even when you try to be as detailed and specific in your script, when you actually got to the scene on the set, there would be so many holes, and those holes were mostly filled by the wonderful cast.

LMD:  Speaking of the wonderful cast, there's a rather famous pop music idol in your film...

SSb:  Ah, {Park} Yoochun?

LMD:  Yes.  While he has done television dramas, I believe he only made a cameo appearance as himself in a movie years ago, so this is really his first feature acting role.  What was it about him that made you feel that this person was going to be my romantic lead?

SSb:  I think he was kind of fearless, that was one reason.  He really projected this image of a good person, of goodness, and also I got really good vibes from him.  And it's not that we have a lot of male actors who are well into their 20s, and Yoochun really wanted to do this role.  And you know how if you're an idol, it's extremely difficult for an idol to feel fondness for this type of character.  

So, what we believed was, because he would be surrounded by the rest of the cast who are all veterans and amazingly experienced actors; we felt that as long as he could leave his schedule open, so he would have days to shoot together and work with the actors, they would be able to really fill in - that he would really be able to identify and kind of melt into the rest of the actors and be able to do his part just fine.  And he was really so into this movie, that except for a few little schedules that he had to do, he really was able to concentrate on this movie.  And from the level of his management company, that was a very difficult decision to make.

LMD:  The film goes to some very dark places at times, and as Yoochun is such a famous idol, I wonder if there was any pushback or hesitation from himself or his management about portraying some of the darker aspects of the film?

SSb:  Not at all.

LMD:  Can you talk about working with Mr. Kim Yoon-seok on the role of the captain?  He's like a great mixture of Robert Shaw in JAWS and Captain Ahab from MOBY DICK.  The captain is always a seething, bubbling cauldron of emotions, but you never know how he's going to blow. What kind of notes did you give Mr. Kim regarding playing this character?

SSb:  He and I talked a lot about the scenario.  So, after I met him and he signed on, I actually rewrote the script before we began to shoot, and in the rewrite, the keyword was pathos, or pathetic love.  And before the rewrite, the version before that actually had the captain becoming almost one with the sea fog and kind of attacking Dong-sik and Hong-mae almost like he was going to eat them up.  But during the rewrite, I decided to identify him with the boat - couple him with the boat.

LMD:  How does the Captain justify the things he does? Was he just going crazy? Is this the true essence of what it means to be evil? Thinking of that reminded me of MEMORIES OF MURDER, and I wondered if as a writer, you are fascinated by what drives people to the edge of sanity or morality?

SSb:  I don't think there is any fully evil person in this movie.  We really never talked about it.  It was never spoken when we prepared this movie that we would be portraying any evilness.
The responsibility of a captain is to make the most realistic decisions and determinations.  It's just that it just happens that each of his choices sort of drove not only him, but other people into this kind of valley, into the swamp of tragedy, like a spiral.

LMD:  Watching this film, I couldn't help but be reminded of some similarities - perhaps in the morality of the crew, or the way certain things were handled on the ship with regard to the passengers - to the reports of the terrible Sewol ferry tragedy last year.  I wondered if there was any mention of that from the Korean media?

SSb:  You know, I didn't even pay any attention to it.

LMD:  Now having wet your feet as a director, has it encouraged you to make more films?  Would you consider directing a screenplay you didn't write?

SSb:  You know, what I really feel is that I do not have the ability to create something from absolutely nothing; so I really believe that I need to meet a great story first.  But I would like to do the adaptation myself, and I would like to direct that adaptation myself, as well.

LMD:  Do you have anything planned?

SSb:  I can't disclose that because we are still getting the rights.

LMD:  What do you wish for HAEMOO to bring to international audiences?

SSb:  You know, this movie is slated to open in some big markets, and there are some big markets for which this movie has yet to be decided when and whether it will open, but I think just overall, I'm just so encouraged and gratified by the positive reaction.  And what really makes me sort of happy and empowers me, is the fact that something that I really like, something that I really feel passionately about, is something that can be identified with. Something that is felt by other people, as well.  Especially internationally, and that is just an amazing feeling to know.

http://www.filmosphere.com/movies/haemoo-sim-seong-bo-2014/

https://www.findspire.com/sea.fog.les.clandestins/

http://www.leblogducinema.com/critiques/ffcp-2014-haemoo-42374/

[CRITIQUE] SEA FOG – LES CLANDESTINS
Pierre  5 novembre 2014

Pour l’ouverture de la neuvième édition du Festival du Film Coréen à Paris les festivaliers ont pu découvrir en avant première le drame HAEMOO, dont la sortie en France est prévue pour le 1er avril 2015. Un film qui offre une première mise en bouche de l’une des personnalités à l’honneur de cette édition, l’acteur Kim Yun-seok, en attendant notamment sa master class de jeudi à 18h40. C’est également l’occasion de découvrir Shim Sung-bo à la réalisation, dix ans après l’excellent Memories of Murder (2003) où il officiait, cette fois, comme scénariste. L’acteur et le réalisateur ont reçu une ovation au moment de venir présenter le film. Mérité pour ce film choc qui laissa le public sans voix.

Pour sauver son poste et celui de ses hommes, le capitaine Kang (Kim Yun-seok), à la tête d’un bateau de pêche menacé d’être vendu par son propriétaire, décide de racheter lui-même le navire. En prise à de gros problèmes financiers il se voit dans l’obligation de transporter des clandestins chinois jusqu’en Corée du sud. Tout se passe pour le mieux jusqu’à ce qu’un terrible incident se produise. La traversée se transforme alors en cauchemar pour les passagers.

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© Next Entertainment World
Pour Memories of Murder, Shim Sung-bo coécrit le scénario du film avec Bong Joon-ho qui le réalisa. Pour HAEMOO on retrouve le même duo cette fois inversé. Shim Sung-bo réalise son premier film tandis que Bong Joon-ho se charge de l’écriture (toujours avec Shim Sung-bo). Ensemble ils parviennent à créer une œuvre saisissante. Un drame terrible qui va jusqu’à basculer dans l’horreur.
Sur ce vieux bateau bon pour la casse, on découvre un petit groupe de pêcheurs dont les capacités laissent à désirer. Face aux clandestins ils révèlent rapidement leur incompétence également dans ce domaine, et abordent leur nouveau « métier » de passeur avec une naïveté et une maladresse presque touchantes. Parmi ces clandestins, se trouve la chinoise Hong-mae (Han Ye-ri). La jeune fille se lie d’amitié avec Dong-sik (Park Yoochun), l’un des marins. Sans surprise des sentiments naissent entre eux tandis que des tensions surviennent à bord. Mais le capitaine Kang est là pour maintenir l’ordre, notamment lorsque le film met en avant les rapports complexes entre des chinois, soumis à une grande pauvreté dans leur pays, et des coréens, dont le seul travail possible est de faire venir une main d’œuvre clandestine, un paradoxe.
Malgré une inquiétude grandissante on ne devine pas le terrible drame qui se produit. Un événement inimaginable qui laisse les protagonistes, comme les spectateurs, sous le choc. A cet instant rien n’est plus comme avant sur le navire et la réalisation évolue logiquement. Un épais brouillard fait son apparition. Les personnages sont désormais enfermés, isolés sur la mer dont il est impossible de voir l’horizon. La caméra se resserre sur chaque acteur qui peu à peu sombre dans la solitude ou la folie. On le comprend aussitôt, la plupart ne reviendront pas de cette traversé.

”Avec son scénario incroyable, tiré d’événements réels, le film nous tient en haleine jusqu’au bout”

En introduction du film, Kim Yun-seok rappelait qu’il était particulièrement connu en Corée du Sud pour ses rôles de méchant. On était loin d’imaginer qu’il interpréterait dans HAEMOO un tel monstre. Le personnage qu’il incarne est désabusé par tout ce qui l’entoure. La seule chose à laquelle il se raccroche est son bateau. Pour pouvoir garder son navire et rester avec son équipage qu’il considère comme une famille il accepte de franchir le pas de l’illégalité. Le pauvre homme d’abord pathétique se transforme en un personnage abominable. Ses actes effroyables s’enchaînent crescendo et nous laissent sans voix. Comme le couple d’amoureux, unique témoin de l’attitude du capitaine, le spectateur ne peut qu’être effaré. Ces derniers observent en cachette les événements. Le sentiment d’enfermement développé tout le long du film par son décors (le navire seul en mer) et son intrigue (l’enfermement des clandestins pour les faire traverser sans être attrapé) atteint son paroxysme dans une scène époustouflante où Dong-sik et Hong-mae n’ont d’autres choix que de regarder l’horreur se produire en s’empêchant mutuellement de crier. Par la suite ils extérioriseront leur peur et leur effroi par la passion qui les unit dans une scène torride qui arrive de manière surprenante mais qui dégage une grande puissance.

Avec son scénario incroyable, tiré d’événements réels qu’on ne peut développer davantage, le film nous tient en haleine jusqu’au bout. Si la prestation extrême de Kim Yun-seok était attendue, on retient celle de Park Yoochun qui s’avère être une bonne surprise. Le jeune homme, présenté comme l’un des membres d’un groupe de musique K-pop (pop coréenne), s’impose brillamment.
Avec HAEMOO le Festival du Film Coréen à Paris a démarré de la meilleure des manières.

corona0911

@marykovalets
#Interview with korean actress #HanYeri, she got nominated as #bestsupportingactress. #haemoo

                               
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@cheers_pop
韓藝璃憑《怒海沉倫》於「第九屆亞洲電影大獎」頒獎典禮提名最佳女配角，雖然未有奪獎，接受編輯部專訪時佢真人十分nice，是個十分好的女演員 #韓藝璃 #한예리 #HanYeRi

                               
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@alivenotdead
Han Ye-Ri #hanyeri #asianfilmawards #afas #redcarpet #alivenotdead #venetianmacao #한예리

                               
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corona0911

[INFO] "Sea Fog" featured in French free daily newspaper "20 minutes" today #HaeMoo

corona0911

http://bylines.news.yahoo.co.jp/saitohiroaki/20150324-00044137/
元・東方神起が、本格派俳優に成長する姿に心が揺さぶられる…
斉藤博昭 | 映画ジャーナリスト
2015年3月24日 1時30分

『海にかかる霧』のパク・ユチョン
  
韓流ブームにのって、2005年に日本デビュー。抜群の歌唱力とダンス、個性あふれるキャラクターで、いったいどこまで人気を広げるかと思った東方神起が、2009年に分裂状態となり、翌年に活動を休止。ファンの間に衝撃が走ったのは、まだ記憶に新しい。

オリジナルの５人のメンバーのうち、ユンホとチャンミンが東方神起を継続して、現在、さらなる人気を獲得しているのは、ご存知のとおり。09～10年の裏事情に関しては、ファンそれぞれに思いがあるようだが、「東方神起は２人になってよかった」というファンや、「脱退した3人が好きで、引き続き彼ら（JYJ）を応援する」ファン、さらに今となっては少数派だが「希望は少ないが、いつかまた5人の東方神起が復活するのを望む」ファンと、反応はさまざまだという。

分裂後、それぞれの道を行く5人
ユンホとチャンミンで鮮やかに復活した東方神起だが、再スタート当初はファンの間にでも不安が漂っていた。というのも、５人のメンバーの中でも彼ら２人は、明らかにマジメキャラ。日本語のギャグも好きでサービス精神旺盛なジェジュン、ツッコミ型でおしゃべりのジュンス、どこかとぼけた味わいのユチョンという、一見、華やかなタレント性に富んだ3人が抜け、その穴を埋められるのか…という課題があったからだ。しかしマジメな2人が残ったことで、ファンのまっすぐな求心力は加速するという好結果につながり、日本でのドーム公演はつねに即完売状態。ファン一人一人の熱量も、5人の時代より、圧倒的に高いことが伝わってくる。そして一方のJYJは、東方神起ほど日本で話題に上らないかもしれないが、順調に活動を続けている。

音楽だけではなく、俳優としてのキャリアも築いている東方神起とJYJ。では5人の中で最も演技の才能を開花させているのは誰か。それは、ユチョンと断言していい。

もともと5人は（現在の東方神起ファンにとって、「5人」とまとめること自体、不謹慎かもしれませんが、ご了承ください）、それぞれドラマを中心に演技経験はあったが、あくまでも音楽活動がメイン。映画に関していえば、日本で公開された出演作品は限られており、多くの観客を集めた作品といえば、チャンミンが爆破のプロを不気味に演じた井筒和幸監督の日本映画『黄金を抱いて翔べ』あたりだろう。スクリーンで東方神起に会う機会は、少なかった。

そんななか、４月に日本で公開されるのが、パク・ユチョンが出演した『海にかかる霧』だ。密航者を運ぶ漁船を舞台にした、衝撃のサスペンス。ユチョンが演じるのは、船員の中でいちばん下っ端の立場にいる、心やさしき青年ドンシクである。

アイドルの面影は完全に消えた…
『チェイサー』のキム・ユンソクが船長役。名優に一歩も引けをとらない熱演
『チェイサー』のキム・ユンソクが船長役。名優に一歩も引けをとらない熱演
まず軽く驚かされるのが、スクリーンに現れるその風貌だ。もちろん顔は、華やかなステージで歌い踊る、おなじみのユチョンなのだが、どこか自信なさげの姿勢、はっきり言ってイケてない髪型、屈折感を抱えた目の表情で、完全にアイドル時代の雰囲気は消えている。ユチョンに顔の作りが“よく似た”俳優と言ってもいい変化をとげているのだ。

密航者の中の少女にほのかな愛を感じたドンシクは、彼女をかばい、他の船員と対立する。相手に応じて、さまざまに、臨機応変に態度を変えるドンシクは、高い演技力を要求される役どころ。それにもかかわらず、ユチョンは見事にそのハードルを超えている。映画全体の主人公は、カリスマ的な船長のカンなのだが、物語の芯になるのが、ドンシクの決断と行動、運命であり、観客が最も感情移入してしまう。徐々に人間性が失われていく船内で、孤独に闘うドンシク＝ユチョンの姿に、心を揺さぶられない人はいないはずだ。

ユチョン自身、本作への意気込みと外見の変貌について

この映画は絶対にやらねば、という気持ちでした。でも最初の衣装合わせで、衣装を着て出てきたらスタッフに大爆笑されました。

出典:マスコミ用プレス資料インタビュー
と告白している。

さらに劇中には、ドンシクがある欲望をあらわにするシーンがあるのだが、たとえば日本の若手スター俳優だったら、絶対に断りそうな過激な演技にもユチョンは挑戦。彼のファンは、心が激しくざわめくかもしれない。しかしその「本気」は、俳優として生きていこうとする彼の強い意志でもあるようだ。

すでに韓国では、この映画の演技で青龍映画賞、大鐘賞など主要な映画賞での新人賞を受賞。『海にかかる霧』は、ユチョンの俳優人生を大きく切り開くことになった。JYJとしての活動を続けながら、今後はさまざまなオファーが舞い込み、俳優としてのウェイトが大きく占めることになるのではないか。

かつての仲間の出演作も日本公開
ちなみにユンホの出演作『国際市場で逢いましょう』も5月16日に日本で公開される。激動の時代を生きた家族の感動ドラマだが、『海にかかる霧』におけるユチョンほど、作品の中では大きな役ではない。単純に比較できないが「元・東方神起」の5人で、演技者として最も進化をみせているのは、今のところユチョンなのだ。5人の東方神起の時代を思い返すと、やや頼りないムードもあったユチョンの成長は感慨深い。

『海にかかる霧』は、『殺人の追憶』や『グエムル 漢江の怪物』『スノーピアサー』のポン・ジュノ監督がプロデューサーを務め、作品としてのインパクトも強烈。後半の目を疑うようなショッキングな展開と、クライマックスが導く切ない余韻は、格別である。新しくオープンするTOHOシネマズ新宿で先行ロードショーされるのも話題だ。

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『海にかかる霧』
4月17日（金）より、TOHOシネマズ新宿にて先行公開
4月24日（金）より、全国ロードショー
配給：ツイン
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