A look at Lee Chang-dong's 2018 Burning, with an analysis that looks into the mysteries surrounding the film, with a strong look at how the film deals with perspective.
The entire film is a series of metaphors. I think even hae mi falling into a well is a metaphor meaning she's trapped in a fake identity and jeong soo is the only one who accepts her for who she really is.
He forgot the cat lol. This story is based on Muakami n Faulkner. Both writers were crazy about cats. And in Korea/Japan, cat is classified, not as an animal, but spirit. "For me cats are the role model for being alive.” ~Haruki Murakami
What??? Didn’t you watch the first 5 mins of this video? Jongsu hurt her with his words so bad that she got plastic surgery, then he calls her a whore and she disappears. How can you possibly say jongsu is the only one who accepts her when he is the one who hurt her the most? Its ironic how jungsu doesn’t speak much and yet his words to haemi is what causes her to disappears from his life twice.
There was no reconnection between HM and JS coz there never was a connection between those two before. She had a never-ending childhood crash on JS because he saved her life when she was little. Entire night sceen at the porch was an expression of her love toward JS. She constantly turns her head in his direction, stares at him and not a single time she looks at Ben. The great hunger dance was for JS only, a gift, but that moron called her a whore. Here is when Faulkner is guiding us through with his short story BARN BURNING which is tale of a revenge. Hae-mi sets JS to murder Ben as a revenge. Is she capable of such a thing? Yes, according to the members of her family. All those possible metaphors are just a clever mirage created by director. Probably the best movie of the 21st century
I have a very similar take and I enjoyed your very thoughtful analysis. I get that we largely get Jongsu's perspective (maybe entirely), but there is such an interesting web of projection from all parties that I don't want to ignore by getting too fixated on filtering every detail of the movie through Jongsu's perspective. The part where Jongsu speaks with Haemi's former coworker, who mentions there being no place for women in Korea, to me, crystallizes the idea that no one is really seeking to understand Haemi (when I read some reviews that complained about Haemi being undercharacterized, I found that to be exactly missing the point) - Jongsu sees in her the specter of personal validation, but then can't recognize that she actually does see meaning in him because he's filtering their relationship through his deep self-loathing and sense of class inferiority. The moment where she doesn't seem to be performing and reveals herself, he can't accept her nakedness and willingness to embrace her own existential vulnerability, and chastises her for daring to step out of his fantasy projection. Jongsu realizes too late that he recoiled because his own existential fear resonated too much - He is now chasing that glimmer. (All of Haemi's previous revelations of existential hunger to Jongsu had some element of storytelling or performance). Ben is seemingly accepting of her, but on a very patronizing level - He can see that Haemi would turn towards Jongsu for some kind of existential solidarity, which is an alien concept to him, but he projects a level of meaning onto Jongsu that perhaps would go beyond his surface-level luxuries. It's unclear whether Ben sees Jongsu as having a kind of cachet that transcends class status, so while Jongsu has never written anything, Ben already affords him a level of regard by virtue of his title of (aspiring) writer that he would never give to a silly girl that dances around looking for the meaning of life - Ben doesn't seem to think the question of the meaning of life is one worth exploring (maybe submerged somewhere in his psyche is a part of him that has deep existential concerns). I would tend to think that Ben would be less susceptible to imposing patriarchal standards on her (by dint of his semi-foreignness), and he sees her with much clearer eyes than Jongsu, but his projection is one that diminishes its object, reducing her to a pet and not an existential actor. None of them seem to be able to see the targets of their search for meaning with clear eyes - They also don't seem to be able to stand to really look at themselves much. I had been thinking that perhaps Haemi was the only one that was actually looking for meaning, but I'm starting to think that they all are, just through a glass, darkly. Perhaps Haemi was doomed from the very start to not be seen, and maybe the only form of liberation for her (and if she can be taken as metaphor for women in Korea, then for them too) is to disappear, because she is either stifled by Jongsu's traditional patriarchal values, or entirely unseen by the promise of Ben's empty capitalism. If I could only create something a tenth as good as this movie, I could die with my life having had meaning. There's more I'd like to unpack, but a good question for any viewer of this movie to ask themself is, "Do any of these people really see anything or anyone clearly?"
@@NeonFilmosophy Thanks! I saw this movie years ago, and no one I make watch it seems as completely blown away by it as I was, so it's validating to run into people that are seeing some of the same things that I do. I take this disconnect as a kind of cosmic meta-commentary on perspective, subjectivity, and the limits of being able to fully inhabit the minds of others ;-)
It's curious how in the weed scene Ben admitting to burning greenhouses is treated with confusion but even some respect. Jongsoo jokes about it as they're leaving, on the same minute as he chastised and shouted "Whore" at Haemi. He loves Ben so much, but he needs Haemi to be their bridge. He tells Ben everything, while being quiet next to Haemi... None of her monologues would generate any conversation out of the two, either. She was just there to look pretty, for them. Terminally alone. I think their scorn for her ideas and Haemi as a person is typical male behavior, and I'm guilty of it too. Crywank - It was a swift not a swallow (I never listen)
You guys are seriously so analytical and well-spoken! I love movies like this that are metaphors to modern society. I will say though, I almost always take these movies at face value (as I’m sure most people do), and that’s why I don’t enjoy it the first time around as much as I do the second. A recent film I can think of is NOPE. At face value, it’s not all that cool. But the metaphors to our modern society are what truly makes the film great. Oh and of course Steven Yeun is in there too haha. Wish I could be a fraction as articulate as y’all 🤧
@@christianlesniakhah! Its funny you say that about the meta-commentary. In some comment sections I saw people saying that haemi was a negative character who betrayed jungsu and was disloyal. This made me so angry. Its incredible to me that such a tragic character can be seen as a villain to some people. I attribute it to lack of empathy. Or maybe its just patriarchal. All they see is a female have sex with a man (who’s practically a stranger) and they think that means she is now his and responsible for all of his feelings… sad.
Thank u, really enjoyed ur analysis of this fantastic movie. After watching the movie a second time, I’m starting to think that Ben had nothing to do w/ Haemi’s disappearance-I’d really been looking at things only from Jong Su’s perspective.
Great analysis. I saw this film for first time this past weekend and found it a hauntingly beautiful and full of metaphors. The scene of Hae-mi dancing to Miles Davis Ascenseur Pour L'échafaud was sheer beauty.
Great analysis brother. Was pleasently surprised to catch this on Netflix last week. I couldn't stop watching, and was in disbelief realizing how much time had gone by after finishing. I'm still processing this film, but it was absolutely mesmerizing. I can't wait to checkout his other work.
Brilliant analysis. Never before has a film grabbed me by the balls so much and finding this video has taught me something new about it. I still can’t fully grasp the entirety of the film but it’s definitely part of the (for lack of a better word) charm it has on me. I honestly can’t stop wanting to know the answers to this film and that probably says something about me but I still love it.
So glad that we have someone like you who can tell us whether a video essay is pretentious or not... How else would we ever get by?! Like, just out of curiosity, what DO you find pretentious? What's the difference between this video and others about the same film? I can't imagine any of the things you said to be compliments. You essentially complimented the creator by saying "Thanks for giving me the Cliff Notes" haha (to clarify, I don't think this video is a cliffnotes version. I think it's a well constructed think piece that serves as supplementary material after watching the film. And I enjoy this video a hell of a lot. Looking forward to the feature film mentioned. Just wanted to point out how weird this comment is and how it's almost a backhanded compliment at that.)
@@ShakingHandsMedia it’s not directed at you, I don’t know you. The intention was to say thank you for all the videoes, since I learned things from the channel. unpretentious meant that the delivery is not meant to make the creator sound smart; it’s to make a point. You are right though, it sounds a bit smug. Not meant to be though.
Your description of this film came up while I was looking for a review of of another film, called secret sunshine, but now ive heard this im going to have to watch Burning 🔥, it sounds great, thank you.
I was relieved when JS called her out for taking her clothes off because finally someone showed they have some boundaries of what they can tolerate. JS and Hae-mi are both using each other, there's no actual love there. They are both using each other for validation.
U forgot the cat lol. This story is based on Muakami n Faulkner. Both writers were crazy about cats. And in Korea/Japan, cat is sorta classified, not as an animal, but spirit. "For me cats are the role model for being alive.” ~Haruki Murakami
Great analysis! Just wanted to point out, re 15:03 - "In fact the only moments not from Jong Su's perspective are when Hae Mi notices him walk into the store, and when he walks away from a job opportunity..." that this is not quite right. There is another moment - which you have at 13:29 - a scene I'd felt the film would be significantly stronger without, (tho your reading of it made me question my conviction,)
Yeah, someone else mentioned this. I will have to live with it! I suppose there's an argument that scene could be in Jong Su's head, but I'm happy to concede I missed that. Thanks for your feedback.
I like the slower pace of your videos. It makes it easier to follow. A bit of critique would be the changes in audio several times throughout the video, it distracts from the narrative a little.
@@NeonFilmosophy you're welcome. You made me reconsider my interpretation of this movie and opened some doors I hadn't thought of opening before. Thank you :)
12:08 Are we sure that watch belong to her Hae-Mi? I thought it belong to that other woman that Jong Su was talking to when he was trying to figure out what happened to Hae-Mi. she's even seen wearing it at 17:19 in this video
The cat food disappears and there’s poop in the litter box. These are usually called context clues, you left them out. It’s odd that you concentrate on his words rather than her actions. She brought Ben with no explanation, dances with everyone at the club, strips in front of strangers, sleeps with a stranger after talking to him one time, and is constantly seeking attention and pity. He’s right for calling her out, but if he were as contemplative and thoughtful as he seems he would’ve avoided her 😂
You need to look at Jongsu's actions too if you're going to criticize Haemi's. You say she brought Ben with no explanation? The first thing they say is they became buddies b/c they were the only 2 koreans in the airport during a three day lockdown. What's wrong with making a friend during her travels? When they go to eat after the airport, Haemi sits next to Jungso, looks at him only the entire time she tells him about the sunset and how it made her feel. Jungsu's response is just a blank stare. When Ben offers to take Haemi home, Haemi literally locks eyes with Jungsu... she WANTS to go with him, but he tells her to go with Ben. As she continues looking at him, he LOOKS AWAY. So what is Haemi supposed to think in that moment? She thinks he doesn't feel the same way about her as she does him. When Ben reads her palm and says "this is why you can't tell the guy you like that you like him" she turns and looks directly at Jungsu. She gives him hints, opportunities, and he does nothing to reciprocate b/c of his own issues. So there is nothing wrong with her remaining friends with Ben, for dancing at a club where literally everybody else is dancing, etc. The fact you think that her dancing at the club is wrong, or that her talking about her trip to Africa and expressing her feelings makes her "constantly seeking attention and pity" says a lot about how you view women. :/
As for the cat, yes there's poop in the litter box. But at the same time, Haemi's apartment is TINY, and yet he never actually sees the cat even when he actively looks for it. We never see the cat despite it literally being in a box. We also never hear it meow. This is why it's referred to as Shrodingers cat. It both exists and doesn't exist b/c we never actually see or hear it. Furthermore, Haemi calls Boil by name and it doesn't come out. She says he hides around strangers. Yet, the cat at Ben's instantly makes its presence known by meowing. It doesn't hide, it comes when called, it sits on a strangers' lap, etc. The clues point us in both directions, like the well.
If there was a cat, obviously the food would've been consumed and there would be poop to clean up. It would be more concrete than a tree falling in a forest but they never made that clear for the viewer. I felt like it was a bit weak of piece for the mystery.
assuming ben didn't kill haimi then why exactly does he tell the greenhouse story and what does he mean by it.or is he simply just talking shit because he is stoned and j is being a bummer with his depressing story.
Because Ben is just talking. The film is from Jong-su's perspective, and he reads the speech as sinister, which in turn shows how easily we can all be led to think that too.
Had it ever crossed anybody's mind that Ben was actually gay? The part where he does the girl's makeup is an example. Him never kissing another woman, having girl's accessories at his bathroom. Also remember when he reads her palm, he tells her she has something different, a stone in her heart making her suffer. CAN'T TELL A GUY SHE LIKES THAT SHE LIKES HIM, and they both suddenly look at joong su. This is one perspective, i could be wrong or right which is the beauty if the film.
@@jinwonlee1407 yet how do you explain his affection towards Jong su? He always goes out of his way to invite him over, smiles at him often and even embraces him when he stabs him by the car.
@@relyndie I thought that also was Ben's way of including Jongsu for his amusement. He found Jongsu interesting but didn't particularly care for him on a personal level (or he did cus they were equally nihilistic and confused). When Ben cried and embraced Jongsu, I thought he was showing appreciation for a strong emotion he hasn't felt for a while through death. Also, a pity and understanding towards Jongsu who is in a way equally troubled like Ben. Now such interpretation is an antagonistic view towards Ben shaped from Jongsu's perspective which isn't necessarily the answer as one of the big themes of Burning is different formations of each individual's reality through different experiences. The most beautiful thing about Burning is both your and my interpretations are valid. Sorry for rambling.
I loved the video, but the only thing I didn't agree on is Jong-su not knowing what a metaphor is. We are shown that he has begun to give up on the fantasy of Hae-mi, and him ignoring her to go to the bathroom is probably an extension of that. He did complete a degree on creative writing after all.
I cant watch the movie again to support my theory but I also have this idea that JS killed both of them because of jealousy and he deliberately planned everything to make it look that HM died falling into the well but who knows how he killed her. He stripped himself off and burned all possible evidences with Ben so he gets away from murder. JS planned that the cat become part of Ben's life to make it look like Ben had something to do with HM's death. It wasn't clear in the scenes but the watch that JS saw in Ben's cabinets might have been placed there by JS again to support the idea that Ben killed HM. This would be material to a possible investigation if a watch and a cat are found in Ben's possession and JS will get away with the murder. It explains why Ben asked where HM is when he met with with JS because he literally thought HM is with JS. When JS called the cat Boil and the cat surrendered to him, it was because he knew the cat and he just baited it to Ben. JS killed both HM and Ben when he realized he would lose HM to Ben and couldn't accept this reality. His real personality/character all manifested at the part where he burned Ben. He suddenly looked and acted weird and creepy while stabbing and burning Ben.
You are way too finite in your views to be a good reviewer of films of this nature. You project massively and don't understand relationships, or choose to ignore the interpersonal relationships to suit your generalisations and proposed broad themes the movie is addressing. Encourage you to record, sit and then watch it again before posting.
