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The determined Park Jung-min returned with a very grim expression. This is his new look that perfectly complements director Yeon Sang-ho. I’m just happy to see Park Jung-min’s enjoyable betrayal, who announced a break without any notice.

In reality, everything has transformed since the pandemic. The ultra-luxury blockbuster that marked the golden era of Korean cinema and the Renaissance has vanished, and the passionate audience shows no sign of coming back. To be exact, it can be safely said that a Korean film, which was intoxicated by a brilliant bubble, was helplessly crushed by the harsh reality it faced without any preparation. The current state of Korean cinema, now caught in a war of destruction, is filled with cries of despair. To escape this situation, director Yeon Sang-ho and Park Jung-min released an incredibly low-budget film to break through the stagnant flow of Korean cinema. This is the first time in a long while that an art buster has emerged that leaves a ‘challenging’ impression.

The mystery film ‘Face’ (directed by Yeon Sang-ho and produced by Wow Point) was shown at a media screening held at Megabox COEX in Samseong-dong, Gangnam-gu, Seoul on the afternoon of the 10th, one day prior to its official release. Selected for the special presentation section of the 50th Toronto International Film Festival, ‘Face’ had to be revealed a day before its release because of regulations requiring it to have its world premiere at the festival. Fortunately, it garnered more enthusiastic reactions than anticipated.

Here is the tale of ‘face’ that has been on my mind. Lim Young-kyu (played by Park Jung-min, Kwon Hae-hyo), a man who has been blind since birth, struggled to overcome the disdain and mockery from others and was eventually celebrated by all when he transformed into a master of his field. Lim Young-kyu, a blind individual hailed as the ‘living legend’ of South Korea, had a son named Lim Dong-hwan (Park Jung-min), who bore a striking resemblance to his father in his younger days.

While working on a promotional documentary to make it easier and safer to pass on the Cheongpung pavilion of the workshop he has dedicated himself to, to his only son, he receives unexpected news. The body of Jeong Yeong-hee (Shin Hyun-bin), his wife who vanished 40 years ago, has been discovered. His son Lim Dong-hwan, upon learning about his mother who abandoned him as a newborn along with his father who had disabilities, feels embarrassed. To complicate things further, Lim Dong-hwan, who was finally paying for his mother’s funeral, is visited by his mother’s older sister, who behaves like a monster. The disrespectful remarks about his mother anger him, while his growing curiosity about her leads him to face increasingly shocking and unbelievable events.

Director Yeon Sang-ho, who established a blockbuster “Yeonibus” universe with works such as “Face” (2016), “Pyok” (2018), and “Phenomena” (2020), continues to pursue unconventional approaches. This film offers a glimpse into the sharp social awareness and strong thematic focus seen in Yeon Sang-ho’s earlier works, making it a deeply impactful piece. The film “Face,” which features a heavy and raw narrative that has not received the recognition it deserves, stands out from Yeon Sang-ho’s other works and brings an unexpected sense of freshness.

Furthermore, ‘Face’ holds even greater significance as it is a film produced by the ‘Yon Sang-ho Division,’ which involves a minimal number of actors and producers. It was shot in just two weeks of pre-production, on the 13th day of filming, and with a very limited budget of 200 million won. This project introduced new opportunities and innovations in Korean cinema during a period of crisis, taking significant risks by focusing on blockbusters that typically require production costs exceeding 20 billion won.

The performance of Yeon Sang-ho, who led the challenges, along with the actors’ sword-dancing performances reflecting the director’s spirit, significantly enhanced the completeness of ‘Face’ by 200%. Park Jung-min, known for his extraordinary ability to transform his face in every film, took the lead in ‘Face’ by challenging himself to play two roles for the first time in his career. From unique irritation to unsettling madness, he filled the 103-minute runtime with different expressions each minute. Park Jung-min, who transformed into a young Lim Young-gyu, did not lack in detailed eye acting and realism, but among these, Baekmi is the emotional thread of her son Lim Dong-hwan, whose emotions build up in the second half. Park Jung-min’s relentless and intense passion, which comes straight from the heart without any artifice, is the true face that ‘face’ aims to convey. This is the moment when his concerns, which he had declared a sabbatical due to feeling limited by himself, are experienced as an exaggeration.

The consistent support from Kwon Hae-hyo, who resonated with the emotions of Park Jung-min and Lim Young-gyu, was equally impressive. Kwon Hae-hyo, who portrayed a multi-faceted personality spanning both positive and negative traits, showcased her strong presence as the foundation for solidifying Lim Young-gyu’s character that fluctuates between past and present. The heartfelt efforts of Shin Hyun-bin, who tackled the most challenging role in the film “face,” should not be overlooked. Shin Hyun-bin made a daring choice to never reveal his face in any scene in “face.” Jung Young-hee, with a faceless portrayal, delivered the character through full-body expressions, including awkward shoulders, a hunched neck, rough hands, and uneasy voice. Shin Hyun-bin, who lost his face—the most powerful element for an actor—became the central figure driving the mystery of the entire movie. This role, which will remain unforgettable in Shin Hyun-bin’s career and life, has given him great confidence.

Deep-seated biases and the focus on beauty, the distortions brought about by society, and the raw reality beneath South Korea’s rapid development are unsettling to observe. However, they also trigger inner reflections and numerous thoughts. In an era filled with anger and hatred, a monstrous face is a ‘face’ that prompts us to ponder whether we have created it ourselves.

Therefore, ‘face’ offers a distinct ‘dimensional’ appeal compared to the typical popcorn film that fades quickly after you exit the theater. The focus is on whether it will continue to be recognized as a strong example of a Korean film that achieved 20 billion won with a budget of 200 million won.

Meanwhile, ‘Face’ is being released today (11th).