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Adapted from a novel by Korean-Swiss writer Elisa Dusapin, this subtle yet refreshing drama follows guesthouse worker Sooha (Bella Kim) as she drives author from France Yan (Zem Roschdy) to the DMZ just north of Sokcho. Symbolism abounds: Koya Kamura’s debut film also camps in a liminal space of the spirit, with Sooha, left behind by her French father while she was still in utero, trapped between two cultures. Once the francophone hostess is forced to chaperone the mysterious author, she lingers uneasily between tetchy friendship and Oedipal attraction.

Everyday Existence and Disruption

If not enjoying visually stunning seafood cooked by her fishmonger mother (Mi-hyeon Park), Sooha is relaxing with her boyfriend (Gong Do-yu), an aspiring model aiming for a move to Seoul. But this comfy routine is disrupted when the foreigner takes up residence for a long-term stay. At first conforming to her biases about rude French men, he proves, after an online search, to be acclaimed comic book writer Yan Kerrand. Coming to Sokcho in search of creative fuel, he manages to prise the account of Sooha’s absent parent from her. She observes him through a vent – but the question lingers whether he’s a surrogate parent, or something else.

Inner Turmoil and Thematic Depth

Sooha’s buried emotions erupt in bursts of clandestine, winding moments of physical constraint and release. We are privy to only her internal world, though; Yan stays a distant figure, upholding his solitary principles and sparing with details of his history. His enigmatic role, as Sooha projects her needs on to him, is deliberate – but this imbalance prevents Winter in Sokcho from fully opening up. Aesthetic expression – and control, with Sooha’s mother and partner both pushing plastic surgery on her – is clearly a central idea for Kamura. But despite Yan’s profession, it feels a bit separate from the main story, like the mysterious bandaged diner also in the guesthouse.

Acting and Directorial Approach

The trio of strong acts at the centre – an nearly aggressive Zem, increasingly scattered Bella Kim, and the self-absorbed Park – give Winter in Sokcho its solid centre, and if Kamura doesn't fully narratively contain the wary faceoff between innkeeper and guest, he is consistently on his toes in terms of feeling, often dipping into a physical, sensory imagery. Fixating on absence, threatening to succumb in subjective feelings, Kamura creates an intriguing kind of modern ghost story.

Winter in Sokcho is available on Mubi from 7 November.