
Return to Seoul: Absolutely Soulful
Return To Seoul (2023)
Directed by Davy Chou
Starring Park Ji-min, Oh Kwang-rok and Guka Han
In April of last year, I had the pleasure of watching three new films in the theater, all of which were excellent. Among them, Return to Seoul was my favorite. In fact, this hidden gem was my pick for the best film of 2023 at the time.
In her debut feature film role, Park Ji-min portrays Freddie, a young Parisienne of Korean heritage. Due to happenstance, she finds herself in Korea instead of her intended destination, Japan. Over the course of two weeks, Freddie explores her country of origin and forms a friendship with Tena, a French-speaking Korean played by Guka Han. As viewers, we become voyeurs, peering into Freddie’s deeply personal story.
The voyeuristic aspect of the film sets it apart visually from the other films I watched that week, A Good Person and A Thousand And One. The characters in Return to Seoul are given room to breathe within the frame, and some shots linger longer than one might expect, creating a sense of discomfort. I can’t help but speculate that director Davy Chou is an admirer of Taiwanese director Edward Yang. The film’s ability to convey emotions silently and convincingly leaves me yearning for Park Ji-min to work with Chou again, or at the very least, with a director who appreciates the profound impact of Yang’s masterpieces, A Brighter Summer Day (1991) and Yi Yi (2000).
Among the three dramas I watched in the theater that week, there was something distinct about Chou’s film. While Zach Braff and A.V. Rockwell’s features also had riveting subject matter, Chou’s work stood out due to its captivating visual language. In this film, words become secondary; emotions are conveyed effortlessly through imagery. Chou’s visual style draws inspiration not only from Andrew Yang’s blocking techniques but also from the color palette and aesthetics of Nicolas Winding Refn’s films Only God Forgives (2013) and Neon Demon (2016). This blend of assumed influences results in a visually stunning experience that makes the two-hour runtime fly by.
Park Ji-min delivers a standout performance as the lead actress, carrying the entire film on her shoulders. Despite multiple time jumps throughout the movie, we instinctively understand her character’s headspace within minutes of each new scene. Interestingly, the leads in the other two films I watched that week were equally adept. Florence Pugh (A Good Person) and Teyana Taylor (A Thousand and One) impressed me with their nuanced facial expressions, subtly concealing pain while exuding longing. Ji-min, however, takes it a step further! What a delightful coincidence to have randomly encountered three films, each featuring a female lead representing a different culture.
In Return to Seoul, the viewer experiences culture in a unique way—through people interacting in multiple languages. Our main character, Freddie, speaks French and English. However, everyone she encounters in Seoul communicates solely in Korean, except for a few who speak French or English. The film captures moments when Freddie engages in conversations via interpretation, which not only relieves tension but also adds a delightful comedic flair to the scenes.
Optimum Immersion is key to enjoying a film like Return To Seoul, so I will not divulge the same plot points that the trailer spoiled for me, but I guarantee if you take the time to watch this film (it’s streaming free on Amazon Prime right now and available to rent on several other platforms), you will be rewarded with an emotional, visually stunning and poignant two hours worthy of Oscar attention. And if you’re interested in spoiler-free takes on my other favorite films of 2023, check out my reviews of The Green Border, Creature, Chile 76 and Octopus Skin.
Grade: If the two other films I viewed the same week as Return to Seoul are a B- (A Good Person) and an A (A Thousand And One), then Return to Seoul is an A+.