Following the phenomenal success of Bong Joon-ho’s Parasite back in 2019, the Korean film industry has been garnering widespread attention and a growing flock of cult followers who are beginning to realise the exquisite film language of the nation. 

For me, the appeal of films that originate from Korea is the almost textbook and stringent manner in which they follow the three-act structure, creating a story that is impossible to grow bored of. Even the most slow-burn of slow-burn Korean films, somehow incite a deep desire in its audience to watch what unfolds. Thus, this makes Kore-eda Hirokazu’s Broker all the more enchanting to behold. 

Shooting Korea from the lens of a foreigner

Hirokazu’s visual storytelling could be described as delicate, tender, and stupendously detail-oriented. Though not to say that Korean filmmakers aren’t the same, but Broker’s cinematography captures the Shoplifters director and his advantageous foreign perspective on the local sights of Busan, Yeongdeok, Uljin, and Wolmido.

In nearly every shot, your eyes follow the characters to the foreground, to the background, to the thirds of the screen; The immersive experience seems to transport you straight to the country of kimchi and hanboks, an element that is often lacking in local filmmakers who are so used to and desensitised to their environments. 

Carefully handcrafted through the vision of Hirokazu with drones, shots of the city, and the juxtaposition of greenery in the outskirt regions, outside of the meaning and themes of the film, Broker felt like his own love letter to the awe-inspiring, emblematic scenery of Korea. 

Furthermore, the acclaimed and incredible force of a crew definitely didn’t hurt the technical turnout of Broker either.

Under the leadership of Hirokazu, Director of Photography Hong Kyung-po (Parasite, The Wailing, Burning) is joined by the talents of Production Designer Lee Mok Won (Sweet Home, Along With The Gods, Train To Busan), Costume Designer Choi Se Yeon (Parasite, The Thieves, Mother) and Music Director Jung Jae-Il (Squid Game, Parasite).

It is even more impressive to note that the realism factor and integrity-to-reality of Broker was so highly emphasised that Hong opted to wait out for particular weather conditions before commencing the shooting of scenes which required rain, wind, and sunlight rather than creating these elements through artificial means. Although tedious, these artistic choices and dogmatic production methods were worth the above-satisfactory onscreen product. 

Scripting a compatibly conflicting cast of characters

In Hirokazu’s own words, “Song Kang Ho was the starting point of Broker. I wrote the screenplay with him in mind from the beginning”. With a script so personally associated with the cast themselves, the ability for them to breathe life into the script was a feast for the eyes and soul. 

As the film follows 5 incredibly complex characters whose lives are all of a sudden, entangled over a baby box, the castmates’ performances quickly became the ingredient that could very well make or break the entire realism and absorption of the movie. It is very safe to say that the talented slate of cast members put up a performance that left no crumbs. 

Not simply playing the roles with a fervent depth and thoughtful effort, actors and actress Song Kang Ho, Gang Dongwon, Bae Doona, Lee Jieun (IU), and Lee Jooyoung truly brought the screenplay to life by elevating the intricate dynamics and relationships between very contrasting individuals. 

IU herself says it best by describing the film as one that “quietly depicts people with different values who have lived not so beautiful lives, meeting, and slowly coming to understand each other”. Personally, one of the finer scenes that were screened was a tension-filled yet simultaneously, heart wrenching clash that occurred on a rooftop (without giving too much away); An undoubtedly well-written and well-performed contemplative scene that urged viewers to look at both sides of motherhood and its boons and banes. 

Expertly navigating the 'Chosen family' trope

‘Chosen family’ is a very familiar trope in works of fiction (and sometimes, even non-fiction) nowadays. Perhaps, the idea of being able to band together with other misfits or outsiders of society is appealing for the same reason that films which dabble in themes of generational trauma (Turning Red, Everything Everywhere All At Once, Encanto) have become increasingly well-received and common in today’s society. 

From a writer-director that has time and time again, proven his strength in exploring familial relationships and what exactly constitutes a family with works like Nobody Knows, Like Father, Like Son, and Our Little Sister, Broker presents another facet of what the people that constitute ‘home’, could be. 

Fundamentally, the film offers a hypothetical look into what happens when individuals at the cross-section of society are brought together.

Whether they voice their displeasure or disagreements with each other outwardly or not, these conflicts are felt, even at the very first 5 minutes of the film where Bae Doona’s character scorns So-young, played by IU, for her negligence as a mother. However, as events progress, the duo, along with the other characters, begin to see eye to eye. Though not necessarily to the point of complete consensus, Broker demonstrates harmony in discourse, as well as the beauty of it – that the most diverse individuals are capable of empathy for each other.

From its stunning visuals, to its star-studded cast and heartfelt message, Hirokazu pays attention the finer details of technicalities and idiosyncrasies of life to craft a story that remains relatable to all walks of life. A wayward journey to brokering love for themselves and for others, Broker is introspective and touching in its depiction of inevitably human habits. 

Broker officially comes to screens this 23rd June, find out how to catch the award-winning film here.