아버지 없는 삶Without Father

DIRECTING INTENTION

If the protagonist, Masako was a sad person, I wouldn't have travelled to Japan with her. I wanted to heal the sorrow between us through her cheerful attitude. Our journey was full of joy and we got much closer during filming. However, there was still a gap between us because of our nationalities. I concentrated on the view of ourselves which we try to perceive through the eyes of the other side. I did not want to focus on the issues which have been dealt with in both countries many times. But, this does not mean it is just empty rhetoric, a so-called, “balanced view.” I told her, “I don't want to ignore the fact that Japan invaded Korea but I don't want to protect the Koreans who resigned themselves to Japan's invasion either,” and we didn't forget what I had said. I respected her and she cared about us too. We had an opportunity for self-reflection during the shooting: we shared the common suffering, sorrow, and friendship as human beings. But we couldn't go far beyond the monster called “the nation.” The two countries have been hostile to each other on the surface, and this attitude has ruled their people. On the other hand they have also held secret communication with each other: look at what the Korean and the Japanese governments have done! There have undoubtedly been covert agreements between the two countries but if we don’t make friends with each other as individuals beyond the nations, and if we don’t create the mood of peace at the civilian level, it will turn into a hostile situation where our nations would once again force us to kill each other. The most important point is that this film has a strong objection to the concept of “orientalism” as defined from the Western perspective. In addition to this, the film is highlights a pioneering approach to life instead of a critical one. If you can see the world with an open mind, then you will see precious friends, akin to real gems.