The Guest, written and directed by Yeon Je-gwang, presents a dark and gritty portrayal of a secluded love motel, where hidden cameras capture the most intimate moments of its guests. As two employees, Min-cheol (Lee Ju-seung: Socialphobia, Broken) and Young-gyu (Han Min: Joseon Attorney: A Morality, You Are My Spring), find themselves embroiled in a moral dilemma, the film depicts themes of voyeurism, exploitation, and societal inequality. Yeon adeptly maintains a relentless pace and spine-chilling atmosphere throughout the film, and with a small cast, also including the superb Jeong Soo-gyo (The Golden Spoon, Tale of the Nine-Tailed 1938) and Oh Hye-won (#Alive, The Killer’s Shopping List), and modern technology at its disposal, the film goes into dark territory, delivering over 70 minutes of tension that will leave viewers feeling unsettled for a while.

During the 26th Far East Film Festival, we had the opportunity to speak with director Yeon Je-gwang and actors Lee Ju-seung and Jeong Soo-gyo. Together, we uncovered the inspiration behind the film, discussed the complexities of its characters, and explored the challenges faced by the cast and crew in bringing this intense story to life.

View of the Arts: The Guest seems to tap into the suspense thriller as well as the classic slasher genre, while also exploring deeper social themes. What inspired you to blend these elements in your film?

Director Yeon Je-gwang: At first, I intended to make a thriller set within a single space, a concept already explored in European and American cinema. However, I was determined to bring my vision into the narrative, both through the lens and the storytelling, thus creating a film that stood out distinctly as my own. Within this film, there are clear distinctions between villains and victims. When delving into the victim’s storyline, I aimed to maintain an ethical perspective while still embracing the essential elements of the thriller genre. This approach was not only a personal creative choice but also aligned with the expectations of the production company. Throughout the negotiation process, there was a shared desire to portray the victims through a lens that offered a deeper, more empathetic perspective. Speaking of the protagonist, I deliberately crafted him as a voyeur, inviting the audience to question their moral compass with the thought, “What would I do if I were in their shoes?” 

View of the Arts: This question is for Lee Ju-seung; your character in The Guest is thrust into a moral dilemma. How did you approach portraying this internal conflict?

Lee Ju-seung: As a voyeur, I perceive two distinct types: those with disinterest and those driven by fear. In the case of Min-cheol’s character, he embodies the latter. He’s acutely aware of the moral implications of his actions but finds himself trapped in a cycle where initiating change feels daunting. At first, there’s a hope for a positive resolution, a chance to set things right. However, as events unfold, the situation deteriorates, leading to a series of increasingly twisted actions. 

View of the Arts: But did you have any trouble immersing yourself into the character of Min-cheol? 

Lee Ju-seung: No, not all. 

View of the Arts: My next question is for Jeong Soo-gyu; playing such a vicious character in the film must have been intense. How did you prepare for such a dark and menacing role?

Jeong Soo-gyo: Portraying such a dramatic character was a new challenge for me, one that I hadn’t tackled before. When I first met with the director, we discussed the importance of the character’s gaze. Anyone can adopt various expressions, but the true test lies in whether they can control the intensity behind those eyes. In the case of my character, control was elusive. 

View of the Arts: The setting of a seedy motel with hidden cameras adds a layer of voyeurism to the film. How did you want to use this setting to enhance the suspense and tension?

Director Yeon Je-gwang: Unfortunately, individuals like Min-cheol do exist in Korea, engaging in criminal activities. While organised crime isn’t prevalent in this context, there are instances where individuals perpetrate such acts, later profiting from selling videos online, [often through the dark web]. This reality served as the initial inspiration for my concept. However, I wanted to go deeper, using this backdrop to explore the complexities of this unique space. I aimed for a slow, deliberate build-up, culminating in a final scene.

View of the Arts: Question for Jeong Soo-gyo; what challenges did you face in bringing depth and authenticity to your portrayal of the film’s antagonist?

Jeong Soo-gyo: As I mentioned earlier, portraying a character in this genre was a new experience for me, presenting challenges. During the filming process, the pace and rhythm on screen differed significantly from when we filmed it, therefore I had extensive discussions with the director. Given the nature of the genre, finding the right angles and maintaining a compelling pace were crucial aspects that we meticulously fine-tuned throughout production.

View of the Arts: How did you incorporate music into the film and how was your collaboration with ECOBRIDGE? 

Director Yeon Je-gwang: ECOBRIDGE are professional musicians, albeit not specifically in film scoring. However, I admired how they intuitively conveyed emotions through their music. Our discussions on details and concepts were extensive, and collaborating with them was truly enjoyable. In the end, we achieved [excellent] results together.

View of the Arts: How does Min-cheol’s failure to address his actions at the beginning contribute to the tragic outcome of the story?

Lee Ju-seung: This response echoes my previous one. It’s crucial to acknowledge one’s actions, as Min-cheol ultimately transforms into a villain. Failing to address and rectify the issue at the outset only makes the situation worse. Despite being aware of his actions, he proceeds, leading to tragic consequences—an expected outcome.

Director Yeon Je-gwang: [It is worth mentioning that] Min-cheol’s last moments are emotional for him, but not for the other people watching it.

View of the Arts: As the film touches on a very complex and sensitive subject matter when it comes to a hidden camera issue, I was wondering how was the reception at the Busan Film Festival (2023). Were you anxious to screen the film to the domestic audience?

Director Yeon Je-gwang: It was more positive than I had anticipated. I was worried at first since it was our first screening, but it turned out to be really positive, so I was very thankful. The audience asked a lot of questions, and given the sensitive subject matter, I must admit, I was anxious, to be honest.

Written and interviewed by Maggie Gogler

Interpreter: June Kim

Featured image © 2024 Alice BL Durigatto

_{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.}