'Burning' Pays Well in Return for What It Demands

After several worthwhile Korean films grabbed my eyeballs in the prior two years, it’s a bit surprising that not one was able to do so in 2018 (actually, 2018 was also not a good year for K-drama for me; only watched one).  I did read and hear good things about Burning, which is being widely praised as the best Korean film of 2018, but I had no chance of seeing it last year.  It was only recently that I finally get to watch it.

It’s about a wannabe writer named Lee Jong-su (Yoo Ah-in) who does odd jobs while waiting for the time he’ll get around finishing (or starting) his novel.  One day, he runs into Shin Haemi (Jeon Jong-seo), a childhood classmate and neighbor whom he hasn’t seen in years and isn’t able to recognize.  After the two catch up, she asks him a favor.  Apparently, she’s soon going on a trip that she has saved up for, and she needs someone to look after her cat.  Jong-su, who has grown infatuated with her, agrees to do it.  But when she returns, she’s accompanied by Ben (Steven Yeun), a rich man she met and bonded with during her trip.

What comes next is an intriguing mystery psychological thriller centered on this “love triangle.”

I admit that I found the film a bit of a head-scratcher.  First of all, it seemingly has social and political undertones that I didn’t quite grasp since I’m not deeply familiar with the current Korean social and political climate.  Nonetheless, there’s a clear “working class vs. elite” tension recurring in the narrative.  Secondly, it requires you to pay attention and think.  It doesn’t connect the dots for you.  There are scenes that would appear out-of-place or confusing at first, but later on, you will get to understand their relevance to the narrative or theme.

In the end, what happens in this movie can be looked at from a few different angles.  Now, the story isn’t exactly super ambiguous.  There can be at least one satisfying interpretation to be had.  But, again, this film won’t connect the dots for you.  It won’t spoon feed.  It will leave you to draw your own conclusions.

In relation to this, its pacing is tedious.  And it’s unapologetic about it.  I guess it needs to be so, for the slow-burn element is an expected complement to the cerebral experience it’s going for.  Thus, it might feel boring at times.  However, its direction never feels lost; it sustains an intense sense of mystery that keeps everything afloat.  Concurrently aiding are tantalizing cinematography and strong performances from the main cast.

In summary, Burning is pretty interesting.  It’s something that creeps up on you as it progresses, and gives adequate compensation for the patience and pondering that it asks.