Khazsak Kramer’s debut in The Land of Morning Calm is a remarkably moving entry into the world of cinema. Taking on the role of Young Ran, a Vietnamese woman living in a rural Korean fishing village, Kramer brought to life a character who is strong yet emotional. From the moment she read the script, she was struck by its poetic and painful final image – of a boat adrift, still sinking – which director Park Ri-woong described as the emotional core of the story. For Kramer, Young Ran’s yearning for home was a relatable theme. Though this was her first time to star in a feature film, her performance, steeped in subtlety and sincerity, revealed a great acting talent. Despite the language barrier, she began learning Korean only a month before, rehearsed relentlessly, and trusted the environment built by her co-stars and director to help her fully immerse herself in the character.

Guided with care and precision by director Park, she was encouraged to trust her instincts while also receiving detailed coaching on dialogue delivery, gestures, and emotional timing. Working alongside veteran actors Yoon Joo-sang and Yang Hee-kyung was equally invaluable – observing their ability to fully embody their roles became a source of inspiration and growth throughout the shoot. A particularly moving scene in which Young Ran confronts her mother-in-law displayed Kramer’s emotional range and, for many viewers, became a turning point in the film. What she lacked in linguistic fluency, she more than made up for with intensity and lived-in emotion. For Kramer, acting wasn’t just about performance; it was about stepping into another life. With such a powerful first outing, she has already proven herself as an actress of rare sensitivity and promise.

View of the Arts: Your character in The Land of Morning Calm is a Vietnamese woman navigating life in a small, close-knit Korean fishing village. What were your first impressions of the script, and what aspects of the character spoke to you the most?

Khazsak Kramer: My initial impression upon reading the script was the ending. To gain a deeper understanding, I asked Director Park about the story that he wants to tell. He explained to me that it was about a sinking boat, and in the end, the boat remains adrift, still sinking. When I watched the film – on both occasions – I found myself deeply moved, shedding tears as I recalled his words. What resonated with me most was Young Ran’s profound longing for home and her enduring love for her homeland, Vietnam.

VOA: You portray a woman who endures tremendous emotional turmoil, from the quiet joy of expecting her first child to the fear and isolation that follows a tragedy. How did you prepare for such a complex performance?

KK: I practiced a lot. Before each day of filming, I would rehearse by reading the script and visualizing the emotions my character might experience, keeping them in mind. When it came time to shoot, thanks to the environment and my talented co-stars, I truly believed in what was happening and experienced everything as if it were real. Since I had never personally experienced what Young Ran went through, I did my best to immerse myself in her world, embracing each moment as if it were my own.

VOA: Your character represents many immigrant women who move to rural Korea through marriage. What kind of responsibility, if any, did you feel in portraying such a role? Did you see her as a symbol of a wider reality?

KK: I have never thought of the character I portray as representing any particular individual or group. I simply approach the role and the story as a deeply personal experience – another life I am meant to live. I believe that any broader meaning or representation of the character is shaped by the director’s storytelling and the audience’s interpretation.

VOA: The character’s strength lies in her quiet resilience – she doesn’t speak much, but when she does, it’s moving. How did you approach expressing her inner world through body language, silence, and subtle emotion rather than words?

KK: For me, taking on a character feels like stepping into and experiencing another life. Thanks to the director and screenwriter’s well-crafted script, I was fortunate to convey this story more through actions than words.

VOA: You shared the screen with two legendary Korean actors – Yoon Joo-sang and Yang Hee-kyung. What was it like working alongside such experienced performers, and did their presence influence or support your performance in any way?

KK: Working on this project has been an invaluable experience. Throughout filming, I was constantly learning – not only from my own process but also from observing the dedication and artistry of everyone involved. I am truly grateful that my first film project allowed me to work with two such experienced and respected actors. Their ability to fully embody their roles was remarkable. Even off-camera, whether waiting for a scene or resting, they remained focused and dedicated to their characters and the story. During filming, they completely became their roles, making every moment feel incredibly immersive and surreal. I felt a deep sense of connection with them, as if they were family. I learned so much from these two esteemed seniors and deeply appreciate the experience.

VOA: There is a particularly powerful moment in the film when your characterwhen you expresses your true feelings to your mother-in-law. This scene made me cry as you gave a very moving performance. How did you prepare for that scene, and what emotions were you drawing from while filming it?

KK: Thank you for your kind words; they truly mean a lot to me. Regarding that particular scene, director Park Ri-woong was quite concerned, as it was the climax of Young Ran’s character, and I had extensive Korean dialogue. Since I had only started learning Korean one month before filming began, I knew the challenge would be significant. More than anything, I am grateful to the director for closely following my journey and working with me through countless rehearsals to achieve those moments on screen. As for accessing emotions, I firmly believe that it was the extraordinary environment created by the entire crew that allowed me to focus completely on the character.

VOA: How was your collaboration with director Park Ri-woong? What kind of guidance or freedom did he give you in shaping your character and understanding your role within the broader story?

KK: Director Park Ri-woong is meticulous and highly disciplined. I was guided through each line of dialogue, how to pronounce every word, where to pause, and at the same time, given complete freedom to shape the character. As for Young Ran’s role within the overall story, I did not focus on it too much; instead, I analysed only my own character’s journey throughout the film. I trust that the director has the clearest vision of the entire story, and I am truly grateful to him for executing it so well.

VOA: This role required you to speak Korean, a language that is not your mother tongue. Not only did you deliver your lines well, but you also brought complex emotions through them. What were the challenges and rewards of acting in Korean, and how did you prepare linguistically for the role?

KK: I was extremely anxious, as everything seemed to fall apart for me on the first day of filming. My preparation during pre-production involved listening to key phrases from other characters’ lines and responding based on those keywords. However, on the first day of shooting, I froze. I kept waiting, but I couldn’t catch the keywords I needed because native speakers spoke Korean incredibly fast, and I had only been in Korea for about a week. As a result, the director had to ask the other actors to record their lines for me so I could practice listening. I had to learn and understand the meaning of every word my co-stars said. Those days were filled with intensive listening and Korean language study. Since the sentence structure was different from my native language, memorising lines was quite challenging. However, thanks to the support of the director and the interpreter, I was able to improve significantly in the following days of filming. I am deeply grateful to everyone. The greatest reward for me is knowing that director Park Ri-woong was able to use the footage we worked so hard to create.

Written and interviewed by Maggie Gogler

Featured image courtesy of the Far East Film Festival

This interview was conducted as part of the Far East Film Festival, where The Land of Morning Calm was proudly featured among the festival’s celebrated selections.

_{We’d like to extend our heartfelt thanks to director Park Ri-woong for making this interview possible, and to Yoon Joo-sang for generously taking the time to share his thoughtful and powerful insights with us.}

_{View of the Arts is an online publication dedicated to films, music, and arts, with a strong focus on the Asian entertainment industry. With rich content already available to our readers, we aim to expand our reach and grow alongside our audience by delving deeper into emerging platforms such as K-pop and Asian music more broadly. At the same time, we remain committed to exploring the vibrant and ever-evolving global landscape of film, music, and the arts, celebrating the immense talent and creativity that define these industries worldwide.}