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I arrived at 2:30, with an attempt to rush (waiting in a line for any open seats) the premier of ”Good News” at 5:45. I was near the front of the rush line full of determination, yet, standing there for 3 hours did eventually tire me out. By the time I got into the screening, I was unsure if I’d even have the energy to pay attention. But as the lights dimmed and the film began, I immediately straightened; it was impossible not to get wrapped up in the rush of energy that was this film, “Good News”.
A South Korean film by Byun Sung-Hyun, “Good News” had its world premiere this year at the Toronto Film Festival, starring actors Sul Kyung-gu (TIFF ’02’s Oasis), Hong Kyung (A Distant Place), and Ryoo Seung-bum. The film is described as a 1970’s based thriller, but the end result is something almost feel-good, raw, and endlessly entertaining.
Byun Sung-Hyun excels at making even the most ordinary (although there aren’t many) of scenes look stylish and stunning. There is deliberate effort put into the lighting, the framing, and the closeups of every scene. Almost any segment could be screenshot and analyzed for the deeper meaning and symbolism woven into every choice. The Mise en scène is prevalent most often in the dramatic lighting and elaborate sets. The higher budget was clearly put to good use.
However, despite the amount of detail crammed into every shot, the humour in the film never fails. The comedic beats are all done perfectly. Drawn out bits will have you watching and grinning at every new punchline, even when you think you might see it coming. The film can feel like a spectacle at times, especially with the eccentric and exaggerated nature of the acting, and the passionate yelling. The actors could not have executed this project more perfectly. Even side characters have charming and interesting personalities. I found myself caring for characters who didn’t even speak and rooting for villains that I was supposed to fear.
Audio wise, the film is a treat to listen to. The airplane sound effects make this film a must-watch in theatre, and the music is unique and gripping. Clearly a lot of thought was put into syncing musical beats properly with the scenes.
This film is evidence of a director that had a clear, strong vision for what they wanted to portray, and Byun Sung-Hyun definitely knew what he wanted to say. He states in the after premier Q&A that he had always been surprised by the lack of Korean films based on the Cold War era hijacking, and he wanted to tackle the subject itself.
There are strong political themes throughout the film as well, with corruption and Korean history being the main ones. It additionally features a strong international cast that helps portray this subject to its fullest.
Overall, the film does exactly what it promised it would and although the film borders on slightly too long, I can’t imagine cutting out any of the compelling scenes already there.
