3-iron / Bunjee jumping of their own

After watching nearly a dozen of Korean dramas, I got the impression that they are highly polished, commercialised, and cater predominantly to family audience with conservative values. In comparison, the Korean films I have watched so far, such as Shiri, 200 Pounds Beauty, Memories of Murder, Sad Movies, A Brand New Life, My Sassy Girl, The Servant, Wedding Dress and Once in a Summer, do not only have a more 'realistic' look but also far more diverse in terms of subject matters and styles. Overall though, they are commercially driven. It therefore comes as a surprise when I came across films like 3-iron and Bunjee Jumping of Their Own that are experimental, ambiguous and unconventional.

Noted for the complete lack of any verbal (or written for that matter) communications between its two protagonists, 3-iron hinders our understanding on why they act in the way they do: for example, why the smart college graduate in his twenties chooses to while away his life in such an unconventional manner; why he takes the risk of being imprisoned while he can free himself by revealing the simple truth to the police; why he chooses being beaten while it is such an easier option just to play by the rule in prison; and who is he trying to impress by adhering to his noncooperative prociple? The film ends with him living 'happily' as a ghost with his lover in her house shared with her husband. From their silent smiles, it appears that they enjoy the game they are playing but as an audience, it remains a myth as to why they refuse to follow conventions and give up the apparent freedom that is open to them? Is it so important to act on one's will and impulse to the extend of marginalising oneself? Is there something we do not know as an outsider of Korean society and its value in order to understand them?

In a society that is still deep rooted in its traditional family values (that is, based on what the popular Korean dramas have informed us), Bunjee Jumping of Their Own is singing a rather disconcerted tone. Although the 'gay' teacher is ousted by the principal, he is seen to be reunited with the reincarnation of the love of his life in a seventeen year old boy. Despite little indication of the exact nature of their relationship, it is clear that the ambiguity itself is bad enough and will never be tolerated in the mainstream culture. It is not clear if they have ended their lives together following the act of bunjee jumping far away from their homeland.

These two films, together with A Brand New Life, suggest to a new audience that there is much to be expected from contemporary Korean cinema.