Korean cinema

Why Beef is in a class of its own

A wave of recent films, from Crazy Rich Asians to Turning Red to Everything Everywhere All At Once, has received critical acclaim for their representation of Asian Americans. But too often such films are one-dimensional, depicting the angst of model-perfect characters damaged by generational trauma and helicopter parenting. That's why the arrival of Beef, a show streaming on Netflix that follows two strangers whose moment of road rage leads to the self-destruction of their lives, is so welcome. The series is complex and nuanced; it breaks more artistic barriers than it has any right to. Beef is never interested in emphasizing that its cast is predominantly Asian American. Instead it chooses to depict them as imperfect people, responsible for the bad choices they make along the way.

Ali Wong Beef

Korean film has mastered the supernatural horror genre

There is a moment in the Jung brothers’ 2007 ghost film, Epitaph, when a young doctor in wartime Korea realizes that the wife he adores does not have a shadow. He is entertaining her with a shadow puppet show in their home when he notices the aberration. ‘Walk to me,’ he says as he waves a naked light bulb in front of her. She had been a visiting medical student in Japan a year earlier and, unbeknownst to him, had died in an accident. It’s a moment that perfectly illustrates the psychological subtlety and brilliant scene-making of Korean film. Epitaph is about a group of young doctors working in a hospital under the Japanese occupation.

korean