Customer Reviews

In Between Days

5 star:		(3)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Aimie is a young Korean immigrant, living in Toronto with her grandmother. She has a crush on her best friend, Tran, but doesn't know how to tell him, especially when he begins to fall for someone else. He doesn't mind the idea of practicing intimacy with her in order to be more prepared when it comes to others with more experience, but she has enough pride to refuse that.

The lead performance is a brilliant piece of understated longing -- and you get the sense that the film could succeed even if it were completely silent and for the most part it is: without saying much, because she lacks confidence even in her own native tongue, Aimie conveys a longing that is as much about affection as it is about the need to have somebody to mask her own insecurity. Her gradual path towards autonomy and confidence is played with consummate and remarkable delicacy, but with an honesty that reveals each new development and discovery as clearly as if she had announced them.

The film is beautifully shot on Sony HD Cam, achieving a kind of muted vibrancy, with shades of pink and blue against white that capture both the coldness and alienation she feels in this new place as well as the vitality that still pulses in her skin. A very fine film, well worth watching for lovers of international and independent cinema who have the patience to let performances and nuance carry the story rather than explosions and melodrama. In Between Days was the 2006 Winner of the Special Jury Price for Independent Vision at the Sundance Film Festival (where I first saw and enjoyed this film) and was the 2006 Winner of FIPRESCI International Critics Prize at the Berlin Film Festival Forum.

Although this is a film about an immigrant -- a Korean girl living in Montreal -- the real emotional core of the movie is about teenage life, and in particular, about moody teenage girls edging into maturity. The film is very slow and deliberate, even a bit morose, although it avoids the cliches of mean boyfriends or melodramatic drug- or pregnancy-related crises. It's a very mature, contemplative film, full of sad, aching moments, and lots and lots of naturalistic "hanging out." It's an art film, probably not for everyone, but very well crafted and rewarding for the right viewers. (Joe Sixpack, Slipcue film reviews)

The highest compliment I can pay to In Between Days is to say that sitting through the film was soothing, blissful, and quiet beauty. Unlike most dialogue-rich films today, In Between Days uses the camerawork and photography to tell most of the story and communicate much of the feelings of the action--exactly how filmmaking is supposed to be. The film tells a simple story but touches the viewer profoundly. Anyone can identify with the confusions of young relationships, and sympathize with the harm and hurt of suffering a broken family. Jiseon Kim as Aimee is both a beautiful young girl full of unconscious nobility and grace yet also a lost youth longing for her absent father. This film marks a triumph for director So Yong Kim, who has made an artistic, aesthetic film on a par with masterworks like Antonioni's "The Passenger". Sitting through both films was similar in that the luxuriant and soothing photography and silence of the soundtrack proved that the directors had full artistic control over their craft and were not nervous about saying too little. In recent years it has been difficult to top the exquisite quality of Korean filmmaking, but So Yong Kim's "In Between Days" belongs in the upper tier of this genre.

While many Hollywood movies portray adolescents as either bumbling fools or self assured heroes, So Yong Kim's remarkable first feature, In Between Days allows us to see that adolescence can be a strange, disorienting place, filled with loneliness and melancholy. Winner of a special jury prize at Sundance, In Between Days is an honest and affecting coming-of-age story about a Korean immigrant girl caught in limbo between the passing of childhood and the onset of maturity. Though not autobiographical, In Between Days is a personal film for 40-year-old director So Yong Kim who grew up as a Korean immigrant in East Los Angeles.

Reminiscent of the minimalist cinema of the Dardenne Brothers and Hou Hsiao-hsien, Kim's hand-held camera and long silences create a startling sense of immediacy. The film opens with recent immigrant Aimie (Jiseon Kim), in her parka trudging through the snow in an unnamed North American city. Having moved from Korea with her single mom (Bokja Kim), Aimie attends English classes but is not fully engaged in the process. Torn between dependence on and resentment of her mother and her dreams of reuniting with her father to whom she writes or imagines poetic letters, Aimie's problems are compounded by feelings of cultural dislocation and her inability to express emotion. Her only refuge is Tran (Kaegu Andy Kang), a sweet but lethargic Korean boy who, though more assimilated than Aimie, is just as protective of his feelings.

Though Aimie tries to win him over by quitting one of her classes to be able to buy him a chain bracelet, he seems to regard her only as a friend. Much of their time is taken up with the daily banality of waiting for the bus, visits to the video arcade, eating at local fast food restaurants, and being bored. Aimie apparently wants to have a more committed relationship but suggesting a hand job or covertly feeling her breast when she is asleep is about as far as he is willing to go to bring himself to the relationship. Things become strained when Tran flirts with Michelle (Gina Kim), a more Westernized girl and Aimie is seen talking and smoking with a friend Steve at a party. Both Aimie and Tran are uncertain of their feelings and resort to playing mind games and even petty theft that leave the relationship hanging and Kim singing a forlorn song in a karaoke bar - "For your affection, for my love, I find love, I find it gone, covered in tears, covered in tears, only for you."

In Between Days, named for a hit song by the Cure, was shot in Toronto during the winter giving the film a feeling of forbidding but often exquisite coldness. Kim, whose expressive face acutely reflects her feelings of alienation, was discovered by the director working in a New Jersey café while Kang was spotted at a Toronto nightclub. In spite of the fact that neither has acted before, their mostly improvised dialogue is very real and they have excellent chemistry together. Though the film's slow pace may discourage some who do not like to work at watching a movie, In Between Days is a thoughtful and intimate drama that reflects the authenticity of Kim's personal experience. It has made me eagerly anticipate her new film Treeless Mountain, also based on impressions from her childhood.

"In Between Days" is an understated, deceptively simple account of a young girl`s first encounter with love.

A recent immigrant from Korea, Aimie is a taciturn, moody teen who lives with her mother in a working-class section of Ontario, Canada. When she isn`t sitting off in a corner by herself, Aimie is hanging out with Tran, a boy from school who, from the looks of things, is her only real friend. Almost inevitably, perhaps, the relationship begins to take a decidedly romantic turn, as together, these two inexperienced youngsters venture into that dangerous emotional minefield known as adolescence. However, thanks to her status as an immigrant, Aimie has the added burden of being essentially a stranger in a strange land, less familiar than most of the other kids with the language and culture of the world around her.

Rather than rely on a heavily-plotted narrative to tell his story, first-time director So Yon Kim creates drama through observation, training his camera on the two main characters as they sit in their rooms or wander the streets and neighborhoods, eating at fast-food joints, engaging in monosyllabic conversations, groping through bouts of clumsy lovemaking, and even lifting a car radio or two when the opportunity presents itself. There's a definite air of improvisation to the work, thanks to the unforced nature of the writing and the extraordinarily naturalistic performances by Jiseon Kim and Taegu Andy Kang in the lead roles. Without the slightest hint of melodrama, the movie deftly captures all the awkwardness and heartbreak, all the self-generated "drama" and endless game-playing that are an essential part of any first love.

Kim's spare filmmaking style - featuring an abundance of tightly-framed close shots, no background music and stark wintry locales - perfectly complements the melancholic tone of the story. Particularly poignant are the voiceover recitations of Aimie's diary entries addressed to her father, as she pours her heart out to a man who, for all intents and purposes, has no real interest in the daughter he long ago abandoned.

Even though Aimie may appear at times to be just a few oxycontin pills shy of a full-blown depression, she is pretty much just your typical average teen, being forced to confront feelings and emotions that are entirely new and unfamiliar to her. After all, it isn't like adolescence comes with a road map for any of us, and Aimie and Tran soon learn that they must forge their own path through this alien territory without a great deal of support from the outside world. (Aimie's mother is too hardworking, self-absorbed and clueless to be of much help in the guidance department). That the couple's efforts in that direction are faltering and stumbling, to say the least, is what makes "In Between Days" a universal experience we can all relate to.

While adolescence is never idyllic and of necessity is a painful and confusing process, Aimee's experience seems bleaker than most. Between cultures, parents, friends, girlhood and adulthood, Aimee drudges through her days trying to find herself and a place to settle. The pace, music and colors highlight the inner landscape of each of the characters, none of whom seem to hold much hope for a better future. From an artistic/technical perspective, there may be a great deal to recommend it but not a movie to savor or enjoy.