Latest news with #Gi-jun
Time of India
12-07-2025
- Entertainment
- Time of India
Korean Independent Cinema's Cultural Revolution - Why 'When This Summer is Over' is Breaking All the Rules
Movie 'When This Summer is Over' The Indie Film That's Shaking Up Korean Cinema Just one week after its release, ' When This Summer is Over ' has become more than just another Korean independent film-it's a cultural phenomenon that's proving why indie cinema remains the beating heart of Korean storytelling. While mainstream Korean cinema often focuses on blockbuster entertainment, this small-budget film is doing something far more powerful: holding up a mirror to Korean society and forcing audiences to confront uncomfortable truths about class, neglect, and the structures that shape childhood. The film tells the story of Gi-jun, who moves to a small town due to his parents' excessive attention, and his encounter with local troublemaker brothers Yeong-mun and Yeong-jun during one summer day. What starts as a simple story about stolen sneakers evolves into a profound examination of how children navigate a world shaped by adult indifference and social hierarchies. Why Independent Cinema Matters in Korea's Cultural Landscape by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Get ₹2Cr life cover@ ₹700 p.m. ICICI Pru Life Insurance Plan Get Quote Undo Korean independent cinema has always served as the country's cultural conscience, tackling subjects that commercial films often avoid. While big-budget productions chase international markets and box office records, indie films like 'When This Summer is Over' dive deep into the social issues that define contemporary Korean life. This film exemplifies why independent cinema is crucial-it doesn't just entertain, it educates and provokes. Director Jang Byeong-gi's debut feature demonstrates the unique power of independent filmmaking to capture authentic Korean experiences. Unlike mainstream cinema that often sanitizes social problems for mass appeal, indie films can afford to be uncomfortable, honest, and challenging. They serve as a vital space for emerging voices to explore themes that might be considered too risky or unmarketable for major studios. The film's success proves that Korean audiences are hungry for authentic storytelling that reflects their lived experiences. In a media landscape dominated by K-pop and commercial entertainment exports, independent films like this one remind us that Korea's most powerful cultural contributions often come from its most intimate, personal stories. The Social Mirror That's Making Everyone Uncomfortable What makes 'When This Summer is Over' so compelling is its unflinching examination of class dynamics and emotional neglect in Korean society. The film doesn't just observe children's lives-it exposes the structural inequalities that shape their world. Through the lens of childhood friendship and conflict, director Jang Byeong-gi reveals how adult society's failures trickle down to affect the most vulnerable. Audiences have been particularly moved by the film's realistic portrayal of how children process and respond to the indifference of the adults around them. One viewer noted how the film made them question "whether I am not them, whether they were actually us"-a reflection that speaks to the universal nature of childhood vulnerability and the responsibility adults bear in shaping young lives. The film's power lies in its ability to make viewers confront their own complicity in systems of neglect and inequality. It's not enough to simply watch these children's struggles; the film forces audiences to examine their own roles as adults in perpetuating or challenging these structures. Critical Acclaim That Transcends Genre Boundaries The overwhelming positive response to 'When This Summer is Over' reflects more than just appreciation for good filmmaking-it represents a collective recognition of the film's cultural importance. Audiences have praised it as "the best Korean film of the year," comparing it to the works of renowned directors like Hirokazu Kore-eda while acknowledging its distinctly Korean perspective. Critics and viewers alike have been struck by the film's "delicate and realistic descriptions" and its ability to capture the complexity of childhood experiences. The film's success demonstrates that Korean audiences are ready for cinema that challenges them intellectually and emotionally, rather than simply providing escapist entertainment. What's particularly significant is how the film has resonated across generational lines. Parents have found themselves reflecting on their own parenting approaches, while younger viewers have connected with the authentic portrayal of childhood struggles. This cross-generational appeal speaks to the film's success in addressing universal themes through a specifically Korean lens. The film's impact extends beyond entertainment-it's sparking conversations about social responsibility, childhood welfare, and the role of community in protecting vulnerable members of society. In this way, 'When This Summer is Over' exemplifies the best of what independent cinema can achieve: using the power of storytelling to create meaningful social dialogue and inspire reflection on important cultural issues.
The Sun
03-07-2025
- Entertainment
- The Sun
Mercy for None: High-energy crime thriller on Netflix
Throwing as many similar sounding and confusing names at the screen as the punches and kicks, Mercy for None is the latest South Korean action-crime series to hit Netflix. Crime organisations Joowoon Group and Bongsan Group co-exist in harmony following an incident that split their original gang Beomyeongdong a decade ago. After Joowoon's leader Lee Joo-woon (Huh Joon-ho) names Nam Gi-seok (Lee Joon-hyuk) as his successor, the move sets off a cascade of events that lead to Gi-seok's brutal murder, which in turn brings his older brother Gi-jun (So Ji-sub) back to Seoul. Formerly the best fighter within Beomyeongdong, Gi-jun carves a path of revenge looking for his brother's killer, which eventually causes an all-out war between Joowoon and Bongsan, with various factions attempting to use Gi-jun's return as the fuel for their own ambition. Uninhibited testosterone Mercy for None has it all: good-looking South Korean men from the baby faces up to the gruff, more masculine variety, men in suits, spoiled Gen-Z brats as the kids of crime lords, dirty cops, foreign hitmen and of course, excellent close-quarters combat with everyone getting slashed, chopped, stabbed, shot, punched, kicked and thrown around. Choi Sung-eun's direction leaves little room for anything other than testosterone and adrenaline – to the point that none of the leads even have romantic interests, which makes Mercy for None stick out like a sore thumb from other South Korean productions. So much of the action and crime noir are thrown at the screen that Sung-eun and writer Yoo Ki-seong seemed to have forgotten a critical aspect that would have made their TV series better: there is no character development. Action over character development A lot of time is spent on Gi-jun easily punching his way through groups of people, but there are only a handful of scenes with him and his brother. They share maybe two big scenes, one at the start and the other just before the final episode ends, with one blink-or-you-will-miss-it scene somewhere in between that reveals Gi-seok wanting to retire from the gang life and be with his brother. Mercy for None fails to establish their relationship beyond surface-level exposition and in turn, makes it hard for audiences to root for him to avenge Gi-seok or even give him a personality beyond every named and unnamed character going 'Gi-jun is a badass' before promptly soiling themselves in fear whenever he shows up. This same problem extends to the other secondary main characters. The show juggles between so many characters and their myriad of personal motivations that run in tandem with Gi-jun's revenge plot to the point that Mercy for None has no time to just stay still and let the characters breathe. In a constant motion of hurtling forwards from one excellent action sequence to another, Mercy for None is a great thrill ride, possibly the best from South Korea among its ocean of generic zombie productions in the last five years, but it simply lacks the oomph factor to become as memorable as the country's older action productions such as I Saw the Devil, A Bittersweet Life, Oldboy or The Man from Nowhere. Mercy for None is streaming on Netflix.
The Sun
03-07-2025
- Entertainment
- The Sun
Action-packed thrills
Throwing as many similar sounding and confusing names at the screen as the punches and kicks, Mercy for None is the latest South Korean action-crime series to hit Netflix. Crime organisations Joowoon Group and Bongsan Group co-exist in harmony following an incident that split their original gang Beomyeongdong a decade ago. After Joowoon's leader Lee Joo-woon (Huh Joon-ho) names Nam Gi-seok (Lee Joon-hyuk) as his successor, the move sets off a cascade of events that lead to Gi-seok's brutal murder, which in turn brings his older brother Gi-jun (So Ji-sub) back to Seoul. Formerly the best fighter within Beomyeongdong, Gi-jun carves a path of revenge looking for his brother's killer, which eventually causes an all-out war between Joowoon and Bongsan, with various factions attempting to use Gi-jun's return as the fuel for their own ambition. Uninhibited testosterone Mercy for None has it all: good-looking South Korean men from the baby faces up to the gruff, more masculine variety, men in suits, spoiled Gen-Z brats as the kids of crime lords, dirty cops, foreign hitmen and of course, excellent close-quarters combat with everyone getting slashed, chopped, stabbed, shot, punched, kicked and thrown around. Choi Sung-eun's direction leaves little room for anything other than testosterone and adrenaline – to the point that none of the leads even have romantic interests, which makes Mercy for None stick out like a sore thumb from other South Korean productions. So much of the action and crime noir are thrown at the screen that Sung-eun and writer Yoo Ki-seong seemed to have forgotten a critical aspect that would have made their TV series better: there is no character development. Action over character development A lot of time is spent on Gi-jun easily punching his way through groups of people, but there are only a handful of scenes with him and his brother. They share maybe two big scenes, one at the start and the other just before the final episode ends, with one blink-or-you-will-miss-it scene somewhere in between that reveals Gi-seok wanting to retire from the gang life and be with his brother. Mercy for None fails to establish their relationship beyond surface-level exposition and in turn, makes it hard for audiences to root for him to avenge Gi-seok or even give him a personality beyond every named and unnamed character going 'Gi-jun is a badass' before promptly soiling themselves in fear whenever he shows up. This same problem extends to the other secondary main characters. The show juggles between so many characters and their myriad of personal motivations that run in tandem with Gi-jun's revenge plot to the point that Mercy for None has no time to just stay still and let the characters breathe. In a constant motion of hurtling forwards from one excellent action sequence to another, Mercy for None is a great thrill ride, possibly the best from South Korea among its ocean of generic zombie productions in the last five years, but it simply lacks the oomph factor to become as memorable as the country's older action productions such as I Saw the Devil, A Bittersweet Life, Oldboy or The Man from Nowhere.
The Star
20-06-2025
- Entertainment
- The Star
'Mercy For None' review: One-punch gangster is a one-note wonder
'Idiot! Chairs only work for lion tamers in circuses. And you're just a clown.' Photos: Handout Whenever South Korean beat-'em-up extravaganzas are mentioned, one would think Ma Dong-seok aka Don Lee has all the other stars ... er, beat. Not so fast. We can now add rapper-actor So Ji-sub (Doctor Lawyer, Sophie's Revenge, Be With You) to the pantheon of screen bruiser demigods. The short, decidedly unsweet action/crime limited series Mercy For None rests firmly on So's squared shoulders and melancholy gaze as he bludgeons his way through gangsters, hitmen, dirty cops and fixers on a mission of revenge. The storyline uses familiar building blocks: intergang rivalry, sons trying to prove their worth to their fathers, fathers wanting their sons to lead better lives than they did, gangsters vying for position, betrayal, duty, corruption, and the ever-popular heroic bloodshed. So plays Kim Gi-jun, formerly a trusted lieutenant of gang lords Lee Ju-woon (Huh Joon-ho) and Gu Bong-san (Ahn Gil-kang) back when they were mere flunkies to a bigger fish. 'Sigh, what a mess. And is that guy sleeping on the job? Oh well, it was time to redecorate and rightsize anyway.' While helping them take over and split the territory, Gi-jun committed a big breach of criminal ethics (cough cough) and was forced to leave after having his Achilles tendon severed – undoubtedly more debilitating than just taking a little finger, like they do across the Tsushima Strait. When his younger brother Gi-seok (Lee Jun-hyuk, Stranger, Vigilante), who is being groomed as the Ju-woon gang's next boss, becomes a target, Gi-jun comes swinging back into action. The culprits seem obvious at first, but it soon becomes evident (to the viewer, if not the clueless principal players in this little melodrama) that a far-reaching conspiracy is afoot. Mercy For None, based on the 2020 webtoon Plaza Wars: Mercy For None by Oh Se-hyung and Kim Gyun-tae, has all the elements for an engaging study of the interesting relationship among its trope-heavy characters. Not so fast, there. From the sparse credits found online for writer Yoo Ki-seong and director Choi Sung-eun, this seems to be their first high-profile project, and they prefer to let So's flailing fists do the talking rather than linger on brooding gangster noir moments (although one shared drink between Ju-woon and Bongsan does fill in the gangland gravitas quota somewhat). 'I like what you've done with the grounds. Odd choice of garden gnomes, though.' Also, unlike many of its comrades in the K-drama sphere, Mercy For None dispenses with characters who are in there just for comic relief. (One split-second exception being a disposable goon in an early episode who seems to defy all of Newton's Laws of Motion when Gi-jun hits him in the face.) Heaping helpings of poetic justice are served along the way, with the tale ending more or less how you imagine it should. Not for the squeamish, Mercy For None is ironically a soothing salve for viewers in need of spleen-venting through the vicarious thrill of screen carnage. And from the way this one shot to the top of the local charts, that covers a whole lot of us. All seven episodes of Mercy For None are available on Netflix.
The Star
19-06-2025
- Entertainment
- The Star
So Ji-sub responds to 'Mercy For None' backlash
'Mercy For None' marks So Ji-sub's long-awaited return to the action genre, 13 years after his turn as a corporate assassin in 'A Company Man'. Photo: Handout Adapting a hit webtoon into live action has become a go-to move for drama creators, lowering risk while guaranteeing a ready-made fanbase eager to leap from digital panels to episodic storytelling. It is no surprise that original screenplays are becoming the exception rather than the rule in today's drama landscape. Netflix Korea's tentpole series Mercy For None rode that wave, bringing one of the most critically acclaimed webtoons to life with a star-studded ensemble cast. Fans were especially thrilled by the casting of So Ji-sub as the lead — a longtime fan-favourite pick to embody the webtoon's ruthless protagonist. However, adapting beloved material comes with risks: Since its June 6 premiere, Mercy For None has faced backlash from loyal webtoon fans over major plot changes. So, a seasoned actor known for past hits such as I'm Sorry, I Love You (2004) and Master's Sun (2013), acknowledged the mixed reactions during a group interview held Thursday in Seoul's Samcheong-dong. 'When adapting a webtoon into a series, it's not like the intention is to harm it or make it worse,' said So. 'In some ways, there's an effort to create an even better piece, something that surpasses the original. Of course, once it's completed, there will inevitably be mixed opinions," he added. 'That's not something that can be controlled. But at the very least, I don't think the original (webtoon) is ever purchased with the intent to damage it.' In embodying his character, So reflected on the emotional depth he aimed to bring to Gi-jun, a cold-blooded former gangster on a path of vengeance following his brother's murder. "I naturally tried to capture the vibe that character gives off. Of course, I couldn't imitate every look or gesture, but I tried to hold that essence in my heart. I'm not sure if I fully succeeded, but that was my mindset." He added: "I hoped that Gi-jun's revenge for his brother, along with his desperate and pitiable sides, would come through." Mercy For None marks So's long-awaited return to the action genre, 13 years after his turn as a corporate assassin in A Company Man . With Korean audiences long accustomed to iconic action figures, from genre staples such as John Wick and local heroes like Detective Ma Seok-do from the hit The Outlaws franchise, he reflected on how he approached the physicality of his role in Mercy For None . 'There's more action in this series compared to others,' So said. 'To show Gi-jun's almost invincible nature, I thought it was essential to convey power and energy. If you look closely at my action style, I might get pushed back, but I never dodge by stepping away. I really tried to incorporate that.' He also pointed to the stripped-down dialogue as a key aspect of the performance. 'There's very little dialogue. I think we filled in those gaps with the help of the camera and the director's guidance. Personally, I actually prefer roles without much dialogue.' So's return to the noir-action space with Mercy For None marks a homecoming to a genre he holds close. 'I personally really enjoy the noir genre. It's something I want to keep doing, even as I get older. Above all, I heard that the script for Mercy For None came to me first, and I was especially grateful for that,' he said. 'When I reflect on myself, I think it's a genre I'm good at. My acting style doesn't involve dramatic emotional swings or a lot of expressive outbursts. I prefer roles that rely on physicality, subtle expressions or acting through the eyes. That's why I think noir suits me well.' – The Korea Herald/Asia News Network
