As the situation eventually gets more dramatic, the film retains its low-key tone, and director / screenwriter / co-producer Yoon Dan-bi, who debuts here after two short films, continues to handle its story and characters with a human touch. sensitive. In fact, you’ll be so immersed in the emotional situation of Ok-joo and his family members that you might be caught off guard when a certain key scene at the end of the movie suddenly ends with a little twist.
As the heart and soul of the film, young performer Choi Jung-woon is commendable for her natural, no-frills performance, and she’s also well supported by the other four lead actors around her, who are all compelling in their straightforward roles. but undeniably memorable. . As Ok-joo’s loving father and fiery aunt, Yang Heung-joo and Park Hyun-young are especially touching in a small private scene where their characters reveal a bit of their old personal feelings. Young artist Park Seung-joon is irrepressible in his courageous appearance, and Kim Sang-dong often speaks volumes about his mostly wordless acting, which gradually seems inseparable from his character’s old house and warm vibe and environment. .
Seemingly influenced by the works of Edward Yang and Hirokazu Kore-eda, “Moving On” is a charming and moving film, and I chose it as the best South Korean film of the last year without any hesitation. When the committee assembled by the Korean Film Council (KOFIC) included it in the shortlist for the Oscar for Best International Feature last October, I was certainly happy to say the least, but then they chose “The Man Standing Next ”(2019) instead. IMHO, considering they had to choose between these two films in the end, it’s the dumbest choice since they chose “The Age of Shadows” (2016) instead of “The Handmaiden” ( 2016).
Like Hollywood and many other local film communities, South Korean cinema has been hit hard by the current COVID-19 crisis, but it has seen another interesting period last year. Of course, last year was certainly less exciting compared to all the cheers and excitement surrounding Bong Joon-ho’s Oscar-winning film “Parasite” (2019), but, in addition to “Moving On,” we had a number of other wonderful films ranging from Hong “The Woman Who Ran” by Sang-soo (2020) to “Lucky Chan-sil” by Kim Cho-hee (2019), and I have noticed that a lot of my southern films – Favorite Koreans of 2020 are animated by strong female characters or directed by talented filmmakers. As I said before in my article on Kim Bo-ra’s “House of Hummingbird” (2018), the future of South Korean cinema is indeed in the hands of many promising South Korean directors besides Kim. Bo-ra and Yoon Dan-bi. I firmly believe that their films mark the new departure of South Korean cinema in its post-“Parasite” era.