[Interview] Director Im Soon-rye "What Are the Role and Responsibility of the State?"

'Negotiation' Covering the Sammul Church Abduction Incident
Judgment of the Incident Left to Moviegoers
Continued Efforts for Animal Protection and Gender Equality

In 1984, at a guesthouse near Chiaksan Mountain, a young senior majoring in English Language and Literature at Hanyang University found himself in a dilemma. Approaching graduation, he faced three crossroads. Like many others, the path to joining a company seemed most likely. His professor, recognizing his intelligence and good grades, advised him to continue studying English literature in graduate school. However, his heart was drawn to becoming a film director. He was attracted to a thorny path, leaving the easier one behind. Director Im Soon-rye (64), whom I recently met at a cafe in Jongno-gu, Seoul, recalled, "At that time, the Korean film industry was not active, and no women had become film directors." She laughed, adding, "Making films back then was like being an astronaut?an uncertain journey."

The choice was film. Director Im vowed to invest ten years and, even if she did not become a director, not to blame others. She said, "It has been 40 years, but I have never once regretted becoming a film director." Instead of continuing with English literature, which she had studied diligently for four years at university, she completed a master's program in Theater and Film Studies and pursued a master's degree in film at Paris 8 University. She transformed from an elite scholar into a successful commercial film director.

The Sammul Church Abduction Incident on Screen

Director Im Soon-rye Photo by Plus M Entertainment

Director Im received acclaim for films such as "Forever the Moment" (2008), which depicted the true story of the South Korean women's national handball team’s memorable matches at the 2004 Athens Olympics; "The Attorney" (2014), which tackled the stem cell research fraud scandal through the perspective of a journalist seeking the truth; and "Little Forest" (2018), which portrayed the preciousness and healing power of a single meal from nature.

This time, she returned with "Negotiation," a film about the 2007 abduction of Koreans at Sammul Church. The movie depicts the negotiation operations of a diplomat and a local National Intelligence Service agent who traveled to Afghanistan to rescue Koreans taken hostage by the Taliban in one of the worst abduction cases.

At the time of the incident, the government was aware of the dangers in Afghanistan and issued strict warnings, but it was revealed that the victims had entered the country for missionary purposes, sparking heated debate. Attention was focused on how the true story would be handled commercially. There were concerns as well. The director said, "Although the subject was risky, I thought it was fresh. There was room to tell a big story." She emphasized, "I wanted to ask about the function of the state. What is the relationship between the state and its citizens? How far do the state's roles and responsibilities extend? What are the limits of public officials?"

The director also stressed, "I have clear personal thoughts about the incident, but the film does not judge right or wrong or reveal my subjective views." She continued, "Rather than showing the director’s perspective, I wanted to present both sides to the audience and let them decide for themselves. Those interested after watching the film might look up the actual incident and organize their thoughts. That is also a function of film."

Leading Hwang Jung-min and Hyun Bin on Location in Jordan

[Photo by Plus M Entertainment]

"Negotiation" recreated Afghanistan through location shooting in Jordan. Director Im said, "The Jordanian staff had extensive experience collaborating with Hollywood, so their capabilities were excellent. We had 100 Jordanian staff and 100 Korean staff, split evenly. We studied how the Taliban group was formed and about Arab Islamic culture."

After 21 years since "Waikiki Brothers" (2001), she worked again with actor Hwang Jung-min, and also collaborated with Hyun Bin. Regarding Hwang Jung-min, Director Im said, "He feels like a distant relative’s nephew I met 20 years ago." She added, "During the filming of 'Waikiki Brothers,' he was just excited and having fun, but now, as a lead actor, I felt his sense of responsibility, concentration, and passion. His cinematic intelligence has developed over 20 years. I feel his abilities are being positively expressed."

"Hyun Bin never overlooks anything. He is meticulous in checking everything. As an actor, he always maintains composure. I wondered if he ever gets angry because he never shows it. I asked him when he gets mad. He said he always tries to put himself in others’ shoes. He thinks, 'There must be some reason.' It’s impressive that he realized that at such a young age... (laughs)"

Kara and Ddeunddeun, Im Soon-rye’s Sense of Responsibility

Director Im was a founding member of Areumpoom, the predecessor of the animal protection organization Kara, and served as Kara’s executive director from 2014 to 2021. She continuously shows interest in animal protection and raises her voice. Last year, regarding a horse accident on the set of KBS’s "Taejong Yi Bang-won," she criticized, "No scene should be produced at the expense of a life." She emphasized the need for legislation to protect animals appearing in productions and raising awareness among production teams to prevent recurrence.

"I wanted to say whether it is really necessary to put animals in danger. We should minimize risks by using special effects (CG) or different camera angles. Many people treat animals on set not as living beings but as replaceable props. Filming is done first to buy time for CG work, but with a little consideration, it can be done, and it’s not a technology we can’t handle. The problem is the culture that disregards life. Didn’t the 'Taejong Yi Bang-won' incident raise awareness? Animal scenes require careful preparation and consideration suitable for child actors or the elderly."

Director Im Soon-rye is also active as the head of the Gender Equality Center Ddeunddeun (hereafter Ddeunddeun). Since Ddeunddeun opened on March 1, 2018, operated by the Korean Women Filmmakers Association and supported by the Korean Film Council, it has steadily laid its foundation following the #MeToo movement in the cultural and artistic sectors in 2016. Now in its fifth year of operation, what changes have occurred?

The director said, "The change is that now there is a place to speak up when gender discrimination occurs. In the past, people couldn’t speak out, saying things like 'I’m quitting because it’s dirty,' but now there is a place to report. It starts with both men and women recognizing this." She added, "There is still a long way to go."

"It’s not just about sexual harassment or gender discrimination. Ultimately, it’s about creating an equal film environment. Some say I am the first female director to direct a film with a production budget exceeding 10 billion won, but well... as you know, if you visit theater and film departments in Korea, there are many talented female students and numerous good works they create. Although many female directors are trained, the proportion of women entering the industry is low. They can make low- to mid-budget films, but they are not entrusted with directing blockbusters. In that sense, it is gender discrimination and a glass ceiling. Breaking that barrier is Ddeunddeun’s role."

Director Im clearly distinguished between her animal protection and Ddeunddeun activities. "I want to say that women’s issues and animal protection are different concepts. Animal work is something I do because I like it, and improving animal welfare is a personal effort within my capacity. I always become humble before nature. Nature gives me comfort and healing. Animals are included within that nature."

This content was produced with the assistance of AI translation services.