‘The Liar’: Film Review

Kim Dong-myung’s second underline examines a impacts of compulsive consumerism on a immature woman’s difficult personal life.

A medium play with social-commentary ambitions, The Liar strives to contend something strange about both a financial and romantic costs compared with wantonness consumerism. Lacking an internationally tangible expel and rather compromised by a rather disproportionate final act, however, a film stays best matched to festival play over South Korea.

As an partner beautician during an upscale day spa, Ah-young (Kim Kkobbi) frequency creates adequate income to cover her share of a lease on a close Seoul unit she shares with her unemployed, alcoholic comparison sister and lazy younger brother. Yet, by a apt multiple of fibbing, sparse burglary and credit-card juggling, she’s means to indulge in engineer wardrobe and luxury-brand accessories that she lords over her co-workers with a higher opinion and a prepared set of lies to cover adult her deceptions.

A used scammer, Ah-young uniformly talks her approach into high-end real-estate sales offices and import-car showrooms while purchasing costly domicile products she has no goal of profitable for before canceling a transactions, all to vicariously knowledge a lifestyles of a abounding and famous. While she tells people she has a abounding lover who splurges on her, her beloved Tae-ho (Chun Sin-hwan) indeed has a modest, unpromising career during a automobile dealership that leaves him hardly means to means a rendezvous ring he’s only purchased for her. Indifferent to his matrimony proposal, Ah-young breaks adult with him, assured that she can find a wealthier suitor, though with her misdeeds and ascent debt melancholy to overcome her, she faces shrinking options.

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Though timely, filmmaker Kim Dong-myung’s critique of compulsive consumerism lacks both discernment and context, neglecting to sufficient inspect Ah-young’s emplacement on luxury-brand fetishism or to denote how a immature lady gains any advantage from her deceptions. Instead, Kim treats Ah-young’s gusto for rascal some-more like a unsure hobby she pursues predominantly for whatever daze it provides from her paltry lifestyle and for a party value she manages to remove from it.

Kkobbi, lacking adequate underpinning for her character, provides a rather haphazard performance, as Kim’s book swings between amicable joke and domestic drama, finally final with a rather rare denouement. Kim handles her directorial duties competently enough, until a final scenes uncover in nearby disarray.

Production companies: Little Big Pictures

Cast:  Kim Kkobbi, Chun Sin-hwan, Lee Sun-hee, Le Da-hae, Jang Seo-ee, Shin Yeon-suk, Kwon Nam-hee, Han Jin-hee

Director-writer: Kim Dong-myung

Producer: Bba Nami

Executive producer: Kim Dong-myung

Director of photography: Lee Sun-young

Editor: Lee Yeoun-jung

Music: Jung Jin-hwa

 

Not rated, 97 mins

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