[HanCinema's Film Review] "The Blacklist"

Following the accusations for sexual harassment and sexual assault, Oh Dal-soo was essentially blacklisted from the industry, as he was removed from from the cast of tvN's "My Mister", and several of his films were reshot or left in limbo. A year and a half later, after issuing an apology, the charges were dropped, and he started acting again, in an independent film called, ironically (or even meta if you prefer), "The Blacklist".

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The movie takes place almost exclusively inside a cell, where a number of inmates get to know each other and discuss a number of topics. One of them is on death row, another a pastor, another a monk, so it is almost to no surprise when one of them declares that he is God. Even more surprisingly, the rest of the inmates, including the death row one, soon start believing that he is actually what he claims, and start treating him as such, at least as much as one could inside the cell. As time passes, the past of most of the inmates comes to the fore, as much as their current situation outside the prison. The appearance of a second generation chaebol heir changes the dynamics, however, particularly since the man seems to own a phone and the prison officer is actually servile towards him, in contrast to the other inmates.

Following stage-play aesthetics, Kim Sung-han directs a satire that seems to mock a number of aspects of (Korean) society, almost exclusively through dialogue. Evidently, the presence of a self-proclaimed God and the way the other inmates treat him is a comment on the way religion functions, with the same applying to the fact that a pastor and a monk also find themselves in prison. At the same time, that all inmates end up asking something from God, including a miracle, adds even more to this comment but in an antithetical path, essentially showing that faith is more important that particular religions.

The way prisons function, and especially the fact that death row inmates find themselves with minor offenders seems like a comment regarding the penal system, with the treatment of the rich guy also moving towards the same path. Furthermore, this comment can also be perceived as a more general one regarding society, as the statements regarding the gap between the rich and the poor come aplenty throughout the movie.

Lastly, a notion regarding homosexuality comes to fore too, and along with some minor comments regarding the generational gap and the relationship of the latest generation with technology add even more depth to an already quite rich narrative. Also of note is the fact that although the topics mentioned are quite serious, Kim retains a sense of hilarity (and in a few occasions crudity) throughout, mostly through a permeating sense of ironic humor, although the violent/dramatic moments are not missing either.

Considering that the film is essentially shot in a single location, cinematography and editing definitely stay in the background, although the coloring and the overall brightness of the image fit the aforementioned aesthetics nicely. The cuts here essentially function as a change of (theater) acts, and thus it would be very difficult to talk about a pace, although the line delivery is relatively fast here, and the film, by no means slow.

Oh Dal-soo plays God, with his charisma being evident in another movie, although he definitely takes a step back from his occasionally extravagant acting, in a rather measured performance, that also seems ideal for this particular comeback. From the rest of the cast, Akira Kim as the monk and Kim Jung-wook as the pastor are the ones that stand out.

Despite its evident low-budget, "The Blacklist" is a film that definitely stands out due to its commentary, that can even be perceived as "blasphemous" on occasion, and for the presence of Oh Dal-soo in the protagonist role. Some knack for stage-play style of cinema is, however, demanded.

Review by Panos Kotzathanasis

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"The Blacklist" is directed by Kim Sung-han, and features Oh Dal-soo, Akira Kim, Kim Jung-wook, Kim Seung-hwan-I, Choi Chang-kyun, Kang Kyung-mo. Release date in Korea: 2021/10/13.