There are countless film narratives out there that not only entertain but also challenge societal norms, encouraging viewers to discuss the difficulties of human relationships and identity. Heavy Snow, a film that depicts the themes of love, social taboos, and personal growth, shows the true power of storytelling. We sat down with the film’s director, Yun Su-ik, to discuss the inspiration behind his work, his approach to character development, and the impact he hopes his film will have on LGBTQIA+ cinema.

Yun Su-ik’s decision to explore the theme of love between two young women in Heavy Snow was based on a desire to bring light to the experiences of individuals who often find themselves marginalised in society. In discussing the significance of the film’s settings, such as the performing arts school in the north of South Korea and the neon-lit streets of Seoul, Su-ik emphasised the importance of choosing locations that enhance the characters’ experiences and relationships. 

Looking ahead, Yun Su-ik is excited to continue exploring challenging themes in his future projects. He said that he has a keen interest in exploring the issue of suicide in South Korea, as it is often stigmatised and overlooked. He believes that by tackling difficult subjects head-on, filmmakers can inspire meaningful conversations and foster greater empathy and understanding among audiences.

View of the Arts: Can you share the inspiration behind Heavy Snow and what led you to explore the theme of love between two young women?

Yun Su-ik: When I went to the East Sea to surf in the middle of winter, I happened to see a scene of heavy snow that blocked my sight, falling beyond the barbed wire of a military unit. Later, while contemplating the theme of my screenplay, I realised that the image of that day was still in my heart, so I created the characters of Su-an and Seol, set against the backdrop of Yangyang’s winter sea, and wrote the draft of Heavy Snow as if I were travelling along with them. There were several reasons for choosing the theme of love between two young women. Especially among female celebrities in Korea, a barrier still exists dictating that these women can’t reveal their sexual identity, which is still a harsh reality for them. It seems like I was drawn to someone’s sore heart out there somewhere.

VOA: How did you approach depicting the evolution of the characters’ relationship, particularly considering the social taboos surrounding their romance?

YSI: It was a difficult task to face the social taboos surrounding their romance. Seol’s job as an actor and Su-an’s dream always had to be at odds with love, and I wanted to find a way together with them in the reality where they were placed, from the perspective of the writer.

VOA: What drew you to cast Han So-hee in her silver screen debut? And what was the casting process for Su-an’s character? 

YSI: When I first saw Han So-hee in photos, I found her unique and attractive – she had the splendour of a celebrity while also having a defiant energy in her eyes at the same time. She was a little different from the Seol I had imagined, but I liked her more. Meeting her in person gave me the impression that she was sincere and firm. I thought that she could endure the winter sea well.

As for Han Hae-in, I first met her in a film study group. When we filmed a short film together, I felt that she was a person with a mysterious face who could express various deep emotions even in her expressionless face when I captured her in a frame. During filming, she was always trusted by fellow actors and staff. Also, from my point of view, she was a reliable colleague who always gave me confidence so I could overcome any kind of obstacles on the way to the destination. In the process of writing the screenplay for this feature film, I suggested making Heavy Snow together, and she played a critical role in creating the character of Su-an.

VOA: The film utilises a jump in time to showcase the characters’ growth. What motivated this narrative choice, and how did you ensure continuity while highlighting the changes in their lives?

YSI: I hoped that the short memories that Su-an and Seol shared during their school days would remain in their minds for a long time and affect each other’s lives, and that after ten years, their longing for each other would naturally be reflected in their transformations. I thought that if it were well expressed, continuity would follow naturally.

VOA: You used elegant imagery and subdued primary colours in your film. How did you work with the cinematographer to create a visual atmosphere that complements the emotional depth of the narrative?

YSI: The reason why I wanted to collaborate with cinematographer Yang Jung-hoon was because of the instinctive sense of angle and colour he had shown in his previous works. So, while I went through the process of sharing reference images with the cinematographers I had worked with before during the pre-production process, I didn’t go through that process with Yang – I didn’t need to. We mainly discussed the narrative, the two characters, Edgar Degas’ painting, and King Krule’s music, which I was inspired by in the process of working on the screenplay. Without planning the storyboard, we improvised shots while watching the actors’ rehearsals on the spot. To make the most of the given time for a good image, it was a principle to divide the cuts only when necessary. Because of that, I designed the actors’ movements in various ways when directing their acting to prevent the prolonged shots from flowing away in a boring manner. The cinematographer already knew that this was the routine to produce the best images, and I willingly adapted to it. It was pleasant seeing the images he created every day.

VOA: Can you elaborate on the significance of the settings, such as the performing arts school in the north of South Korea and the neon-lit streets of Seoul, in shaping the characters’ experiences and relationships? 

YSI: I tried to find the most natural places according to the characters’ personalities or situations for a sense of reality when I chose the background while writing the screenplay. But I enjoy the process of thinking about which angle and light to use to build up ordinary places into our movie’s unique tone and manner. The scene where Su-an and Seol left for Seoul on a whim at night was very important in terms of emotions, so which neighbourhood in Seoul they went to was a crucial part. It’s natural to go to hot spots, but Seoul is usually bright and loud even at night due to entertainment establishments and the number of drunk people that are found wandering the streets. It was a difficult environment to control. However, I found out that Myeong-dong was exceptionally deserted late at night, unlike other large downtown areas, and that felt special to me – it was as if I were looking at an amusement park with its lights out. It was a suitable environment for the two actors to share their intimate feelings, and the cinematographer was able to design the angle freely.

VOA: Han Hae-in’s performance as Su-an should be praised for bringing a beautiful and complex character to life. So-hee also delivered a superb performance. How did you collaborate with the actors to delve into the nuances of their characters, particularly during emotionally intense scenes?

YSI: I respected the emotions of the characters designed by the actors themselves as much as possible, and I mainly shared ideas on movements, gestures, and voice tones so that they could efficiently convey the acting they had prepared. In emotionally intense scenes, we discussed where to restrain the expressions to maximise the emotions, and we mostly discussed rhythmic concerns about when would be the most optimal timing to do a specific action. Back then, I was into those kinds of things and thought it was the best I could do.

VOA: How do you navigate depicting taboo subjects like substance abuse and same-sex relationships within the context of South Korean cinema, considering the cultural sensitivities and norms?

YSI: I usually write freely when writing screenplays. Rather than being conscious of the ‘queer’ subject, I created the story by considering what emotions or actions the two characters of my imaginary world would exchange with each other. The substance abuse part was also chosen as a way for the character to express her deficiency. As to whether these subject matters are reproducing prejudice or misunderstanding or affecting the authenticity of the film, I tend to revise the scenario based on interviews with people with real experiences or through approaches that consider various social and cultural contexts regarding the issues during the scenario inspection process.

VOA: In recent years, there has been increased visibility and representation of LGBTQIA+ characters in South Korean media. How do you see Heavy Snow contributing to this evolving landscape, and what impact do you hope it will have on future LGBTQIA+ representation in South Korean film and television?

YSI: Korean society still has strong traditional values and norms, so it is inevitable to confront social resistance and criticism in creating queer characters, but personally, it’s great to see queer characters being constantly depicted in various fields nonetheless. I believe it’s an important step for the progress and growth of Korean society, and I’m glad that Heavy Snow could be one of those works.

VOA: Finally, what future projects are you excited to explore, and are there any themes or genres you’re eager to delve into next?

YSI: I’ve been studying with interest, and I have been writing stories little by little about the suicide problem in Korea, which has continued to maintain first place in suicide rates among OECD countries for a long time. Since it’s difficult to deal with the topic of suicide as everyone has a different perspective and since it’s a dark subject matter, I think it’s hard to develop it into a story that can be invested in and made into a movie. But I believe that the stronger the obstacle, the more creative the outcome. I’m enjoying every moment.

Written and Interviewed by Maggie Gogler

Featured image courtesy of Yun Su-ik

_{View of the Arts is an online publication that chiefly deals with films, music, and art, with an emphasis on the Asian entertainment industry. We are hoping our audience will grow with us as we begin to explore new platforms such as K-pop / K-music, and Asian music in general, and continue to dive into the talented and ever-growing scene of film, music, and arts, worldwide.}