Stateless Things

Stateless Things is an intimate and deeply impactful 2011 South Korean drama film directed by Kim Kyung-mook. One of the reasons why this film seizes attention is its avant-garde narrative style and the fact that it portrays two disparate youth originating from different social and economic backgrounds in Korea, each facing their unique struggles. The film skillfully binds these two storylines together, albeit never physically intersecting, harmoniously chiming the struggles and despairs that forms the bedrock of this film.

The film’s lead characters are Jun, played by Yoon-seok Kim, and Hyeon, portrayed by Kyung-gook Kim. Jun is a seventeen-year-old defector from North Korea who lives and works illegally in a gas station while illicitly selling his body to an older married man to earn more money. The pathos of his plot develops further as he grapples to make a life in the South, feeling disjointed from the society yet having nowhere else to go. As Jun tries to negotiate with the older man for more money he's caught in a web of exploitative relationships. He also befriends an older woman, played by So Hee-jung, who becomes his confidante and symbolizes a quasi-maternal figure in his life.

On the flip side, the film introduces the story of Joon, a Korean-Chinese worker born and brought up in China yet employed in Korea who overstays his visa hoping for a better financial and social standing. Joon works under an abusive employer in the hope of better days. Honestly portrayed by Hyeong-gook Im, Joon brings visibility to the thousands of migrant workers whose voices are often stifled.

The dichotomy that these two characters represent, yet conglomerating as 'stateless' in this capitalist society, adds a unique edge to the film. It not only shines a light on socio-economic issues but also brings forward a piercing reflection on identity, belonging, and the struggle of outliers in society.

The thoughtful narrative of Stateless Things is further enhanced by its evocative cinematography. The urban landscape of Seoul is captured in all its realities which sometimes seems overwhelming, harsh yet real. Director Kim Kyung-mook has painted this film with emotions in every frame, making the audience speculate about the stark reality of societal margins.

Stateless Things is truly a cinematic piece that moves beyond the ghettos of the ‘unseen’ and exposes the raw, abrasive cuts borne by so-called foreigners in their own land. It keeps the audience engrossed not with a conventional variety of suspense and climax but with its gritty authenticity and existentialist narrative. The movie is filled with symbolic gestures and hidden meanings, urging the viewer to witness the pain, struggle, and small joys of these boys’ lives.

An intriguing element that distinguishes Stateless Things from other works in the same genre is its treatment of sexuality and its impact on the characters' identities. The director paints a vivid picture of the societal implications on the individuals who are forced to navigate their existence and sexuality in a heteronormative society. It subtly explores the complexities of sexual identities and the grave consequences when they collide with social stigmas, expanding its story space from socio-economic to socio-cultural.

It’s safe to say that Stateless Things is more than a movie. It’s a critique, an expression of rebellion, a portrait of societal outskirts whose voices often go unheard and efforts unseen. If you're after a movie layered with material for thought and stark reality, Stateless Things is for you.