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Inspired by a novel by Korean-Swiss writer Elisa Shua Dusapin, this elusive yet bracing film centers on guesthouse worker Sooha (Kim Bella) as she escorts French writer Yan (Zem Roschdy) to the DMZ just north of the city of Sokcho. Symbolism abounds: Director Kamura's debut film also resides in a liminal space of the soul, with Sooha, abandoned by her father from France while she was still unborn, trapped between dual heritages. After the francophone hostess is compelled to accompany the mysterious author, she lingers uncomfortably between tetchy friendship and Oedipal attraction.

Everyday Existence and Disruption

If not enjoying spectacular-looking seafood cooked by her mother who sells fish (Mi-hyeon Park), Sooha is lolling about with her boyfriend (Gong Do-yu), an aspiring model gunning for a move to Seoul. However this comfy routine is disrupted when the outsider takes up residence for a extended visit. Initially matching her prejudices about impolite Frenchmen, he proves, after an online search, to be acclaimed graphic novelist Yan Kerrand. Coming to Sokcho in pursuit of inspiration, he succeeds in extract the story of Sooha’s absent parent from her. She observes him through a vent – but it remains to be seen whether he’s a proxy father, or something else.

Emotional Landscape and Thematic Depth

Sooha’s buried emotions erupt in flashes of clandestine, winding moments of bodily suffocation and liberation. We witness only her inner life, though; Yan remains a remote presence, insisting on his loner ethic and sparing with details of his history. His enigmatic role, as Sooha projects her needs on to him, is intentional – but this imbalance prevents Winter in Sokcho from reaching its full potential. Visual style – and restraint, with Sooha’s parent and partner both advocating cosmetic surgery on her – is evidently a key theme for Kamura. But in spite of Yan’s profession, it feels a bit separate from the main story, like the enigmatic bandaged diner also in residence.

Acting and Directorial Approach

The three focused performances at the core – an almost hostile Zem, progressively unmoored Kim, and the self-absorbed Park – give Winter in Sokcho its solid centre, and if Kamura doesn't fully narratively contain the wary faceoff between innkeeper and guest, he is consistently on his toes emotionally speaking, often exploring a tactile visual register. Fixating on emptiness, on the verge of drown in internal sensations, Kamura musters an intriguing kind of modern ghost story.

Winter in Sokcho can be seen on Mubi from 7 November.