This is the first in a series of essays on the important pieces of Korean cinema freely available on the Korean Film Archive’s Youtube channel. You can watch it here.
By day, Miss Lee and Mr. Pak work at the same bank in downtown Seoul, maintaining an ostensibly cordial if chilly professional relationship. But at night, they both return to the same apartment in a riverside tower block, where they live almost — but not quite — as husband and wife. “Weddings are lame,” insists Mr. Pak when Miss Lee, spurred by the coming nuptials of another formerly secret office couple, asks if they’ll ever have one of their own. He then nods off, putting an end to one of their rare opportunities to communicate, hemmed in as they are by the need for propriety at work and the insistence of his superiors at the bank on round after round of nightly drinking.
Having reached her late twenties without any marriage prospects, at least as far as the rest of her colleagues know, Miss Lee, given name Hyeon-joo, plays the role of the office “old miss” (올드미스), a title she’d until recently shared with the worker who sits next to her, the one about to get married. The boss, apparently out of pity, gives Hyeon-joo some time off and a holiday bonus as well, which Mr. Pak, in his work persona, jokingly suggests she use to tag along on the newlyweds’ honeymoon. Humiliated, she must wait until the evening at home before she can scream, shout, and throw household objects as well as punches in retaliation at her husband-to-be-or-not-to-be.
Read the whole thing at the Los Angeles Review of Books.