A still from “House of the Seasons” is shown in this image provided by Indie Story Inc. on Sept. 5, 2024. (Image courtesy of Yonhap)
SEOUL, Sept. 5 (Korea Bizwire) — “House of the Seasons” serves as a microcosm of modern Korea, where the generational divide is more pronounced than ever due to the country’s rapid industrialization.
The drama film follows a three-generation tofu-making Kim family in a picturesque rural town in southeastern Korea, where their bond, much like tofu, is strong enough to hold its shape yet fragile and easily broken.
Through engaging storytelling, the film resonates with different generations: the elders who lived through the 1950-1953 Korean War and a deeply Confucian, strongly male-dominated society; the hard-working baby boomers who played a key role in the nation’s economic rise; and the younger generation, significantly more affluent, who tend to focus on pursuing individual dreams.
The family members gather to prepare for the annual “jesa” ceremony, honoring the spirits of their ancestors. In the scorching heat, the women of the clan are busy making food. Mi-hwa (Kim See-eun), the newly pregnant granddaughter, repeatedly asks her grandmother, Mal-nyeo (Son Sook), to turn on the air conditioner, but her requests are ignored.
It is only with the arrival of Seong-jin (Kang Seung-ho), the family’s prized only grandson who is struggling to make it as an actor in Seoul, that Mal-nyeo, a central figure in managing the family, finally — and happily — relents.
Through the characters’ dialogue and actions, viewers gain insight into the history and dynamics of the Kim family. The picky grandfather, Seung-phil (Woo Sang-jeon), lost his parents to communists during the war and now suffers from mild dementia. His son, Tae-geun (Oh Man-seok), limps from an injury sustained during the 1980s student activist movement and has become dependent on alcohol. And his two daughters now lead drastically diverged lifestyles, with the elder working at the family tofu factory while caring for her bedridden husband, and the younger living in affluence, preparing to emigrate to Vietnam for her husband’s business.
The family’s seemingly peaceful life, despite minor tensions, begins to unravel after the passing of Mal-nyeo and the mysterious disappearance of the much-coveted bank book.
A still from “House of the Seasons” is shown in this image provided by Indie Story Inc. on Sept. 5, 2024. (Image courtesy of Yonhap)
In his feature debut, writer-director Oh Jung-min masterfully weaves the intricate and hidden stories of a three-generation family with sharp insight, reflecting the realities faced by many Korean families navigating societal upheavals.
The director captures raw emotions that often test family bonds while maintaining a hopeful perspective on their resilience. By reminding viewers that every household harbors its own secrets and struggles, the film ultimately suggests that relationships can stretch without breaking, even though tensions may strain loving families.
The film balances this view with a light-hearted tone, infusing humor throughout to paint the family portrait with warmth. The shifting narrative mirrors the changing seasons, set against the picturesque backdrop of the rural town, adding depth and beauty to the story.
A poster of “House of the Seasons” is shown in this image provided by Indie Story Inc. on Sept. 5, 2024. (Image courtesy of Yonhap)
The final scene, captured in several minutes of uninterrupted takes, depicts the grandfather walking toward a hill after a brief hesitation at a crossroads. The camera tracks his journey until he vanishes from view, creating a poignant image that is likely to leave a lasting impression on many viewers.
“House of the Seasons” won the KBS Independent Film Award, the CGK (Cinematographers Guild of Korea) Award and the Aurora Media Award, which supports emerging directors, from last year’s Busan International Film Festival.
It is scheduled for local release on Wednesday.
(Yonhap)
