{"id":12856,"date":"2022-12-16T08:40:05","date_gmt":"2022-12-16T08:40:05","guid":{"rendered":"https:\/\/aata.dev\/?p=12856"},"modified":"2022-12-16T08:40:05","modified_gmt":"2022-12-16T08:40:05","slug":"return-to-seoul","status":"publish","type":"post","link":"https:\/\/aata.dev\/index.php\/2022\/12\/16\/return-to-seoul\/","title":{"rendered":"RETURN TO SEOUL"},"content":{"rendered":"\n

RETURN TO SEOUL<\/strong><\/p>\n\n\n\n

Norman Warwick learns from Kayti Burt<\/strong><\/p>\n\n\n\n

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In many ways, transnational adoption drama\u00a0Return to Seoul<\/em>\u00a0was born at the Busan International Film Festival. When French-Cambodian director Davy Chou came to BIFF in 2011 to screen his feature\u00a0Golden Slumbers<\/em>, his friend, a Korean-born French adoptee, tagged along for the trip. When she decided to meet up with her birth father, Chou went along for the meeting. More than a decade later, the encounter, which had Chou eating an emotionally intense meal of ginseng and chicken soup amongst his friend\u2019s biological extended family, is brought to raw life in\u00a0Return to Seoul<\/em>. The afternoon is heavy, awkward and deeply frustrating\u2014at least for Freddie (Ji-Min Park), the Korean-born French adoptee at the volcanic core of this wandering story. We follow her over the course of eight tumultuous years, as she returns to Seoul again and again, trying to understand what\u2014if anything\u2014the country, its culture and her birth family mean to her.<\/p>\n\n\n\n

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We first meet Freddie at age 25, when she impulsively travels to Seoul after a flight to Japan is canceled. We\u2019re not given this context until well into the movie, instead thrown into Freddie\u2019s life as she checks into a hostel and almost immediately starts accumulating Korean drinking buddies. Like the character, we have little choice over how we\u2019re brought into this world or how we grow into it. Though Freddie may work furiously to hide it, she\u2019s just as confused as we are. Uncertain if she belongs in this culture of her birth, or if she even wants to. Some of Freddie\u2019s new friends speak fluent French, but most do not, which has the dialogue switching between Korean, French and English as the characters work to understand one another. It\u2019s a depiction and theme that will continue throughout the film: The arduous work of human connection, especially across language barriers and cultures, and through the unique perspective of a transnational adoptee.<\/p>\n\n\n\n

Transnational adoptions, as they are usually referred to in the U.S., is a term for a child born in one country and adopted into another. In the second half of the 20th century in particular, following the \u201cend\u201d of the Korean War<\/a> in 1953, approximately 200,000 Korean children<\/a> were adopted abroad, mostly sent to Western countries (about two-thirds of international Korean adoptees were adopted in the U.S.). This massive movement of Korean-born children into mostly white families in Western countries has been written<\/a> about eloquently in many places. It\u2019s also a story that has been told incredibly personally in various film formats. The number of Korean-born international adoptees peaked in the 1980s, which means those kids are now adults, some of whom are storytellers.<\/p>\n\n\n\n

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In 2015, Samantha Futerman and Ryan Miyamoto released\u00a0Twinsters<\/em><\/a>, a documentary about Korean-born American adoptee Futerman\u2019s experience finding out she has an identical twin sister living in France. And, in 2022, we have\u00a0Return to Seoul<\/em>, a transnational adoptee story, as told by Chou and his While Chou may not exactly embody his subject matter, he is not unfamiliar with the experience of returning to a place you have never been (or have no memory of), looking for a kind of connection. The child of Cambodian parents who fled their home to escape the Khmer Rouge, Chou grew up in France, first visiting Cambodia at the age of 25. He uses\u00a0Return to Seoul<\/em>\u00a0to, among other things, explore that first\/second-generation immigrant experience of being complexly, confusingly torn between two cultures. (Thematically and in terms of confident-yet-aimless pacing, the film reminds of\u00a0Monsoon<\/em>, the underrated indie starring Henry Golding as a man who visits Vietnam as an adult more than two decades after leaving as a six-year-old.)<\/p>\n\n\n\n

Most of Chou\u2019s direction is designed to forge an unbreakable relationship between Freddie and the viewer. Freddie is our tether across time jumps. The camera often lingers, tight, on Freddie\u2019s face as she takes in and subtly reacts to everything about the world around her. When we\u2019re not looking at her, we\u2019re looking with her, a frequently used shallow depth-of-field drawing our attention to the points of Freddie\u2019s focus. Even when we don\u2019t like or don\u2019t understand her, we are in it with her; those intentionally provoked reactions only work to create more of a bond between us, as Freddie doesn\u2019t particularly like or understand herself most of the time either. Whether you like the character or not, the film demands that you respect her and her feelings. In a film so centered on the transnational adoption experience, an identity that has only begun to be properly explored in pop culture, it\u2019s vital to frame a talented cast.<\/p>\n\n\n\n

However adept the filmmaking, such a piece would fall apart without the right central actor. Park is a revelation in what is, unbelievably, a debut performance. Chou gave Park a lot of room for improvisation and input<\/a> into the character, leading to a performance style reminiscent of Felicity Jones in Like Crazy<\/em> or Timoth\u00e9e Chalamet in Call Me By Your Name<\/em>. Regardless of when or where we find her, Park simultaneously imbues Freddie with a vulnerability and impenetrability, characterized by a vibrant, exhausting defiance she brings to each and every interaction. I cannot believe this is Park\u2019s first role. If and when this film grows a wider international audience, she will be a major reason why.<\/p>\n\n\n\n

Freddie\u2019s most honest moments of connection\u2014both to other characters and to the audience\u2014 come through music. The film begins with Freddie asking a Korean character if she can listen to what is coming through her headphones. Even when Freddie is at her most alienated and resistant towards her birth culture, she seems able to lose herself in the music of the country. In one memorable scene set in a casual Seoul club, she escapes the pressures of social interaction, of being defined and defining herself, to dance by herself; the scene lingers, as Freddie closes her eyes and is able to be herself. Later, after she has formed a tenuous relationship with her birth father (veteran Oh Kwang-rok), he shares a piece of music he has composed for her. It is amateur and simple, but it moves Freddie.<\/p>\n\n\n\n

Because we almost exclusively see Freddie during her visits to Seoul, it\u2019s unclear what other factors\u2014outside of her identity as a transnational adoptee\u2014might influence her restlessness. Though I missed the larger context of Freddie\u2019s life, Return to Seoul<\/em>\u2019s commitment to staying in the moment creates an engrossing cinematic experience, an inextricable character portrait both intimate and fathomless.<\/p>\n\n\n\n

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Director:<\/strong>\u00a0Davy Chou (right))<\/em><\/strong><\/p>\n\n\n\n

Writer:<\/strong> Davy Chou<\/p>\n\n\n\n

Starring:<\/strong> Park Ji-min, Oh Kwang-rok, Guka Han, Kim Sun-young, Yoann Zimmer, Louis Do De Lencquesaing, Hur Ouk-sook, Emeline Briffaud, Lim Cheol-hyun, Son Seung-beom, Kim Dong-seok
Release Date:<\/strong> October 6, 2022 (Busan International Film Festival)<\/p>\n\n\n\n

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please note logo <\/strong><\/em>The prime source for this article was written by <\/strong><\/em>Kayti Burt is a culture critic with bylines at TIME, MTV News, Refinery29, and Den of Geek. For more pop culture analysis, including K-culture context, you can follow her @kaytiburt and visit her website<\/em><\/strong>.<\/em><\/p>\n\n\n\n

In our occasional re-postings Sidetracks And Detours are confident that we are not only sharing with our readers excellent articles written by experts but that we are also pointing to informed and informative sites readers will re-visit time and again. Of course, we feel sure our readers will also return to our daily not-for-profit blog knowing that we always seek to provide core original material even whilst occasionally spotlighting the best pieces from elsewhere, as we engage with new genres and practitioners along all the sidetracks & detours we take.<\/strong><\/em><\/p>\n\n\n\n

This article was collated by Norman Warwick, a weekly columnist with Lanzarote Information and owner and editor of this daily blog at Sidetracks And Detours.<\/strong><\/em><\/p>\n\n\n\n

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Norman (<\/strong><\/em>right)<\/em><\/strong> <\/strong><\/em> <\/em><\/strong>(<\/strong>has also been a long serving broadcaster, co-presenting the weekly all across the arts programme on Crescent Community Radio for many years with Steve Bewick, and his own show on Sherwood Community Radio. He has been a regular guest on BBC Radio Manchester, BBC Radio Lancashire, BBC Radio Merseyside and BBC Radio Four.<\/strong><\/em><\/p>\n\n\n\n

As a published author and poet Norman was a founder member of Lendanear Music, with Colin Lever and Just Poets with Pam McKee, Touchstones Creative Writing Group (for which he was creative writing facilitator for a number of years) with Val Chadwick and all across the arts with Robin Parker.<\/strong><\/em><\/p>\n\n\n\n

From Monday to Friday, you will find a daily post here at Sidetracks And Detours and, should you be looking for good reading, over the weekend you can visit our massive but easy to navigate archives of over 500 articles.<\/strong><\/em><\/p>\n\n\n\n

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e mail logo <\/strong><\/em>The purpose of this daily not-for-profit blog is to deliver news, previews, interviews and reviews from all across the arts to die-hard fans and non- traditional audiences around the world. We are therefore always delighted to receive your own articles here at Sidetracks And Detours. So if you have a favourite artist, event, or venue that you would like to tell us more about just drop a Word document attachment to Norman at <\/strong><\/em><\/p>\n\n\n\n

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Sidetracks And Detours is seeking to join the synergy of organisations that support the arts of whatever genre. We are therefore grateful to all those share information to reach as wide and diverse an audience as possible<\/strong><\/em>.<\/strong><\/em><\/p>\n\n\n\n

correspondents                                    Michael Higgins<\/p>\n\n\n\n

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\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Graham Marshall<\/p>\n\n\n\n

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Hot Biscuits Jazz Radio                     www.fc-radio.co.uk<\/a><\/p>\n\n\n\n

AllMusic  <\/strong><\/a>                                          <\/strong>https:\/\/www.allmusic.com<\/p>\n\n\n\n

feedspot                                              https:\/\/www.feedspot.com\/?_src=folder<\/p>\n\n\n\n

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Lanzarote Information                        https:\/\/lanzaroteinformation.co.uk<\/p>\n\n\n\n

all across the arts                                 www.allacrossthearts.co.uk<\/p>\n\n\n\n

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songfacts                                           en.wikipedia.org\/wiki\/SongFacts<\/p>\n","protected":false},"excerpt":{"rendered":"

Even when Freddie is at her most alienated and resistant towards her birth culture, she seems able to lose herself in the music of the country. In one memorable scene set in a casual Seoul club, she escapes the pressures of social interaction, of being defined and defining herself, to dance by herself; the scene lingers, as Freddie closes her eyes and is able to be herself.<\/p>\n","protected":false},"author":2,"featured_media":12861,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[75],"tags":[],"class_list":["post-12856","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cinema"],"_links":{"self":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/12856","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/comments?post=12856"}],"version-history":[{"count":1,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/12856\/revisions"}],"predecessor-version":[{"id":12865,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/12856\/revisions\/12865"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media\/12861"}],"wp:attachment":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media?parent=12856"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/categories?post=12856"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/tags?post=12856"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}