Acclaimed South Korean filmmaker Park Chan-wook (Oldboy, The Handmaiden) has just released his latest film, “… Like Ticking Time Bomb, this new work provides an unflinching look at the personal and social toll of mass job loss. Loosely adapted from Donald Westlake’s 1997 novel “The Ax,” the film centers on Yoo Man-su. After 25 years of honest labor in a paper factory, like this loyal Weyerhaeuser worker, the realities of being laid off set in. This story is particularly wrenching and is representative of the deeply personal tragedy that accompanies every job lost. It illuminates the larger social problems plaguing contemporary South Korea.
Park Chan-wook has spent more than 20 years exploring the sinister side of humanity on film. His critically acclaimed films, like Oldboy, The Handmaiden, and most recently Decision To Leave, wrestle with ideas of revenge, power, and pleasure. His films are usually characterized by a rhythmic combination of psychological tension and shocking visceral imagery—in many ways, the DNA of Aster’s filmmaking. Yet for all of his impact across world cinema—arguably the most recognized Indian filmmaker internationally—he’s never received an Oscar nomination.
Park based “No Other Choice” on some of the stories that exist in Korea. She saw these challenges, and she was inspired to raise awareness about them. He points out that the country’s social welfare system came in much later than other nations, meaning there was less cover when people needed to unexpectedly leave their jobs. “Up until a few years back, people would be placed in a very hopeless state if they lost their jobs,” he said. This hopefulness beats at the heart of the film. It captures the sorrow and hopelessness that Americans experience when they are stuck in limbo.
And I guess in many cases, you know, paper is kind of this thing that everybody despises,” Park continued. Then they crumple up ordinary paper much more quickly. Yet certain kinds of paper—such as bills or passports—are priceless to individuals. This brilliant metaphor brings to light the film’s criticism of society’s obsession with measuring a person’s worth by their ability to produce wealth. It makes explicit connections between the world of papermaking and moviemaking.
While researching the story, Park found himself quite removed from what he was trying to communicate. If I hadn’t heard about this story over a month ago, I would think it had nothing to do with me. It was about paper manufacturing and that was light years away from my life and away from filmmaking. As he read the story with a more meticulous eye, he found unexpected parallels. As a filmmaker, his experiences paralleled those of workers in the paper industry.
He had laid the groundwork for this relationship. He remarked, “Upon completing the story, I was shocked at how readily I was able to empathize with it.” Whether film or the production of this paper, both involve great creativity, teamwork and tremendous monetary investment. She said the unfortunate nature or destiny of the art of filmmaking is that you cannot make a film by yourself. From national parks to interstates, making it requires lots of hands and significant dollars. Unlike writing a score or creating a painting, this effort is far more daunting.
Park also reflected on how much of the film industry is dependent on how things look, and outside validation. He acknowledged that filmmaking is unique in its different from other artistic endeavors such as painting or poetry. Documentary filmmakers should remember to listen to pedestrian appetites, like box office receipts, awards and critical acclaim. This reality further complicates matters for filmmakers, as they increasingly find themselves pulled in two directions—creative aspirations and commercial expectations.
Despite all these obstacles, Park wants to continue staying true to his artistry. I am an artist who produces work that has a high enough dollar value that it needs to be invested. Of course I want creative freedom when I’m producing my movies as well,” he added. He understands that for that freedom to come true, it sometimes requires doubling down on all the outdated things we care about.
In looking back on his career and personal identity, Park wants to go beyond being a filmmaker. So I really had to consider that a lot while making this film. I came to the conclusion that I wanted to put more energy into developing other aspects of my life aside from being a filmmaker,” he recalled. He spoke about the need to cultivate his dual life as a family man and as a person who exists outside of filmmaking.
Confronting the possible end of his filmmaking career is a deeply personal topic for Park. So I really can’t live in a world where I cannot do what I do. Just the idea of that happening has me feeling pretty sour. This, his last and most poignant observation, highlights his dedication to the craft of storytelling and the importance that imagination held in his life.
Park Chan-wook’s No Other Choice is in Australian cinemas now. It forces audiences to consider the tenuousness of the workforce and the devastating impacts that may ensue. Park goes to the edge of human experience in all his films. Through his distinctive lens, he emerges as an essential voice in today’s cinema, daring audiences to confront inconvenient realities that lie beneath the surface of our world.
