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Oki's Movie (2010)
"Ok-hui-ui yeonghwa" (original title)

 |  Comedy, Drama  |  18 April 2012 (USA)
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Ratings: 6.9/10 from 489 users   Metascore: 78/100
Reviews: 3 user | 24 critic | 6 from

A love story between a middle-aged professor, a young student who prepares a movie and a student/film-maker who drinks too much.



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Credited cast:
Yu-mi Jeong
(as Seon-gyun Lee)
Seong-kun Mun ...
Professor Song


A love story between a middle-aged professor, a young student who prepares a movie and a student/film-maker who drinks too much.

Plot Summary | Add Synopsis


Comedy | Drama


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Release Date:

18 April 2012 (USA)  »

Also Known As:

Oki's Movie  »

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Aspect Ratio:

1.78 : 1
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Did You Know?


Pomp and Circumstance No. 1 in D major
5 Military Marches, Op. 39
Written by Edward Elgar
Conducted by James Judd
Performed by New Zealand Symphony Orchestra
Naxos Global Distribution, Ltd., Korea
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User Reviews

Ennui in domestic South Korea. How about that.
30 January 2015 | by (United Kingdom) – See all my reviews

Here is another film I ventured into without knowing what was to greet me. To comment that I feel I have a blossoming interest in 'Asian Cinema' doesn't seem to be saying much; to say that I enjoy Western Cinema, or European Cinema is an equally vague comment that offers seemingly infinite specifics. But it's true. I'm only recently awakening to the offerings of people who inhabit the other side of our globe, that vast geographical reach drenched in such diverse culture, and with each film I become more aware of how little I can really claim to know, or how qualified I am to make any remark. Wong Kar-Wai from Hong Kong, Akira Kurosawa and Masaki Kobayashi from Japan, Satyajit Ray from India and now Sang-soo Hong from South Korea are artists I have recently become acquainted with, representing such disparate worlds and sensibilities but allowing me to realise how much Asia has contributed to cinema, and by extension reminding me that if there's a person anywhere, with any idea and any camera, a film can be made. Oki's Movie isn't about filmmaking, or about any particular creative process, but it does show us people who make films and question what it offers them.

Oki's Movie maybe isn't actually -Oki's- Movie, but Oki's -Movie- in which she juxtaposes two of her relationships by showing us the exact same date she took her two different partners on quietly encapsulates the film's exploration of love's place in our life and how we gravitate around it and respond to it. Oki dates two men, a film student and a film professor, and Oki makes a film about them, and so they all have film in common; yet this seems to be just the incidental factor that unites them, and ultimately film's veracity is questioned. Earlier the professor wistfully states that film is dead. Ironically this film of course proves that wrong, and in showing people's struggle to represent truth does exactly that.

This film is slightly Woody Allen, in that we have confused and melancholy people following impulses, discovering love, finding its place in their lives, battling their perpetual dissatisfaction, replete with the awkward fumblings and uncomfortable laughter found so often in life. It's incredibly naturalistic; with a mostly static camera letting these encounters unfold, as if this was a being filmed by the characters themselves. Beyond complete stillness, the most common technique is that sharp and sudden documentary-zoom, emphasising the intimacy and refusing to let any emotion go unnoticed. A scene which captures these characteristics perfectly is a moment at a social dinner when the film student gets too drunk and, based on a rumour he heard earlier, begins intently questioning the integrity of his professor. The camera focuses only on these two people, sitting next to each other, ignoring the rest of the people gathered at the table. We don't need to see anything else, because the discomfort is palpable enough, and we are reminded that although with a camera we can be selective with reality, in our actual experiences of such we cannot, and are trapped in the moment.

At 80 minutes long it would seem perhaps petty to express any doubts about the pacing or direction of the movie, and there really is not cause for complaint, except for the moments, where like the characters sitting on benches sketching and seemingly waiting for inspiration or hiding in their bedrooms avoiding making a decision, it seems to briefly pause as if deciding its next step. But this an interesting film of quiet humanity, about people having fierce ideals that life wears away into confusion and bitterness. Hong, I think, manages to procure poetry in the banality of life, or simply balances the two, and it makes for a peculiar and low-key experience of nothing exceptionally fascinating, but nevertheless engaging.

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