Written by Emily Jisoo
Director Grant Hyun's short film “Koreatown” is based on a true story about a male do-umi (Korean for escort) who works in Los Angeles' Koreatown, one of the largest of its kind. With Korean-American films, you might expect stories of hardworking parents who build their lives on sacrifice, and second-generation kids who struggle with their cultural identity. Koreatown offers something very different, almost surreal, but very much grounded in its surroundings and approach.
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Set in 2007, the film follows Kyeong, a do-umi at a noraebang (Korean karaoke bar). He entertains his female clients, pouring them drinks and singing for them. Through a series of snapshots, his precarious life of excessive alcohol, violence, and emotional labour comes into focus. When an older Korean woman pays him extra to come to her house, he acquiesces and gives in to her disturbing request.
Hyun sought to showcase the largely unknown existence of these male do-umis who worked in Koreatown karaoke bars in the 2000s, and who have since disappeared following police crackdowns. Host bars are common in Korea and Japan, but in the west it's rarer to witness male escorts, at least not those who work openly at such an establishment. Through the inversion of gender, the film portrays the female clients and their desires in a non-judgemental way, all whilst highlighting the inherent discomfort of these fake relationships.
But it's not just affection that these Korean women want; they also crave a connection to their homeland. They want a Korean man who will sing their favourite Korean songs and tell them about their childhood (for a fee, of course). It's the cultural specificity of the noraebang that can trick you into thinking you're back in Korea, which mirrors the way Kyeong creates an illusion of romance for his clients.
Newcomer Sunho Yoo is perfect for the role; masculine yet contemplative, the toll of straddling the line between boyfriend and employee evident on his impassive face. Crystal Lee is brilliant as the client who takes Kyeong home – icy and unapologetic – but the longing for connection is palpable behind the mask.
Visually, the film is faultless. The cinematography by Alfonso Herrera Salcedo is slick as we glide between the sleazy noraebang rooms and LA highways. The neon red and blue hues of the lighting illuminate the character's faces, enhancing the sense of artificiality. The scenes are complimented by a reverberating electronic score, while the upbeat 70s Korean pop tune ‘All of you' that plays during the climax provides a chilling contrast to the situation Kyeong finds himself in.
It's rare for a short film to contain such depth within its slim runtime, but “Koreatown” features both complex characters and a strong sense of place in a sleek and stylish way. The feature length film hasn't yet materialized, but expect great things from director Grant Hyun.
