Park Young-ju initially pursued creative writing but shifted her focus to screenwriting when her screenplays failed to attract attention from filmmakers. Faced with this challenge, she directed her own screenplay and debuted with A Delivery Girl in 2014. In 2016, she found inspiration in a story by Pyun Hye-young, leading her to direct the short film 1 Kilogram, which was screened at the Cannes Film Festival in the Cinéfondation section. Subsequently, after completing her film directing degree at the Korea National University of Arts, she received production support from her alma mater to create her first feature film, Second Life, in 2018. The film was selected for the New Currents category at the Busan International Film Festival.
Park’s new work, Citizen of a Kind, is a gripping tale based on a true story, focusing on the extraordinary journey of an ordinary individual, Deok-hee, played by Ra Mi-ran, who takes on voice-phishing scammers. Through its well-paced storytelling and relatable characters, Citizen of a Kind delivers a powerful message about one’s strength and the pursuit of justice in challenging times.
View of the Arts: What inspired you to tell the story of Citizen of a Kind, particularly focusing on the character of Deok-hee?
Park Young-ju: The film draws inspiration from a true event that happened in 2016. Prompted by the production company’s suggestion, I dove into the subject matter and interviewed the individual central to the story. Throughout our conversation, I sensed a palpable burden of guilt and responsibility weighing on that individual. [Our conversations] motivated me to make this film and show that it was not the victim’s fault.
View of the Arts: Can you discuss the process of casting Ra Mi-ran as Deok-hee and how her portrayal influenced the film’s overall tone?
Park Young-ju: From the inception of drafting the screenplay, Ra Mi-ran was my envisioned choice for the role. Her suitability for the part, coupled with her immense talent as an actress, made her the ideal candidate. I showed the screenplay to her, and, luckily, she liked it and decided to get involved in the project. She is an actress who is very good when it comes to portraying complex and dramatic characters as well as infusing humour into her roles. Ra Mi-ran brought an unparalleled balance to the film through her portrayal.
View of the Arts: You mentioned you interviewed the victims of the call fishing, that being said, have you interviewed Kim Sung-ja, who was the original character? And if yes, was she involved in making this film in some way?
Park Young-ju: During the pre-production phase and throughout our interviews, Kim Sung-ja showed an extraordinary level of enthusiasm, articulating every detail of her experience with fervour. Following the completion of the film, she graciously participated in numerous interviews with various news platforms, significantly contributing to the film’s publicity and the broader dissemination of her story.
Additionally, a meeting ensued between the actress and Kim Sung-ja post-production. They engaged in heartfelt discussions about the relief that Kim experienced upon the release and public screenings of Citizen of a Kind.
View of the Arts: How did you approach balancing the high-stakes sequences with moments of comedy and character development in the film?
Park Young-ju: I must acknowledge that it presented a significant challenge and a lingering concern throughout the filmmaking process. When it came to depicting the crime itself, I strongly felt that it demanded a serious and solemn portrayal, considering its gravity. Thus, the depiction naturally leaned towards a heavier tone. However, when illustrating the collaborative investigation undertaken by the women, despite the challenges they encountered, there was an opportunity to infuse elements of comedy into the narrative. This served to lighten the mood and provide a great balance amidst the heavier themes.
View of the Arts: The use of dynamic camerawork and lighting is amazing in the film. How did you collaborate with the cinematography team to achieve the desired visual effects?
Park Young-ju: Given the film’s abundant drama and dynamic nature, I believed that the camera work should mirror the intensity of the characters’ experiences. Consequently, I dedicated considerable effort to collaborating with the cinematographer, discussing techniques to bring energy into the film through our camera work. It was imperative for the visuals to aptly convey the emotional journey of the characters and [immerse the audience in their world].
View of the Arts: One has to praise the authenticity of the film’s dialogue and emotions. How did you work with the actors to bring these raw emotions to their performances?
Park Young-ju: When collaborating with exceptionally talented actors, words can sometimes feel superfluous, as they inherently grasp the essence of their characters and the complexities of their situations. I have to applaud all the actors in this film, [they are amazing].
View of the Arts: Was it challenging to work with child actors?
Park Young-ju: Drawing from my past encounters with child actors, I’ve come to recognise the challenges they present. However, through these experiences, I’ve developed effective strategies for working alongside young performers. Additionally, the main actresses in the film, being mothers themselves, naturally felt at ease collaborating with child actors.
View of the Arts: It took a while for this film to be released – what is your experience as a female film director in Korea, and how does it feel now that the film has been screened to an international audience?
Park Young-ju: During the pandemic, I found myself grappling with obstacles beyond my control, which was shared by everyone involved in the film. It was a challenge we faced. Reflecting on those years, I’m immensely grateful that both the film and its audience eventually found their way to the cinema. In truth, as a female director, I find it heartening that the cinema is more [conducive to female voices in filmmaking than in the past]. However, because of the pandemic and its aftermath, I’m acutely aware of the added hurdles new directors encounter in realising their creative visions. This is a pressing issue that requires attention and concern.
View of the Arts: Lastly, how do you hope audiences will respond to Citizen of a Kind, and what message or takeaway do you hope they will leave with after watching the film? Do you have any new projects in the pipeline?
Park Young-ju: I wanted to make a film that would make you cry, laugh, and curse the bad guys. But if there is one message that I would like to communicate to the audience, it is that the victims are never responsible for whatever situation they are in. As people tend to blame victims in such situations, I wanted to push against that with this film. And yes, I do have one project coming. I am in the process of writing a TV drama, which is a combination of genres featuring romance and crime.
Written by Maggie Gogler
Questions by Maggie Gogler and Sanja Struna
Interviewed by Sanja Struna
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