South Korean animation has taken significant steps forward in recent years, particularly in terms of context, with works like “Beauty Water” and “The Senior Class” being among the first that come to mind. In his debut, Kim Bo-sol delivers an equally rich, context-driven narrative, channeling two of Korea’s favorite storytelling elements: North Korea and melodrama.
The Square is screening in Far East FIlm Festival
Isak Borg is a Swedish diplomat working at the embassy in Pyongyang. He enjoys a relatively comfortable life, especially when compared to the locals—he has his own apartment and is never short on money. However, due to the country’s restrictive policies, a guard is permanently stationed at the entrance of his building, clearly monitoring his comings and goings. Although quite lonely, Borg has managed to form a relationship with Seo Bok-joo, a local traffic officer. Their meetings are secret, almost clandestine, yet their relationship continues to blossom despite the risks she faces if discovered.
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Eventually, Borg’s posting nears its end, and his efforts to extend it seem unlikely to succeed. Things become even more complicated after a suspicious man visits their secret meeting place and Bok-joo suddenly disappears. Desperate to find her again, Borg seeks the help of his impassive interpreter, Lee Myung-jun, who initially remains indifferent to the Swede’s pleas. Gradually, however, Borg’s emotions begin to affect him.
Kim Bo-sol presents a narrative steeped in melancholy, a tone mirrored in the technical aspects of the production. The story unfolds in winter, with snow-covered backdrops establishing a cold, somber mood. The subdued color palette and heavy winter clothing contribute to the film’s atmosphere, offering moments of visual beauty that reinforce its emotional weight. At the same time, the includision of local landmarks is impressive, with a number of images having the quality of actual paintings.
Character design is competent, and the winter attire helps distinguish personalities. However, this is where “The Square” stumbles: facial lines lack detail, and the attempt to convey coldness through red tones on the characters’ cheeks is unconvincing and rather repeating.
That said, context is where the movie truly excels. The central love story, while somewhat familiar, gains strength from its dire implications. Bok-joo’s danger is palpable, and her sudden disappearance adds mystery. Borg’s desperation and genuine affection, and the way these emotions influence the cynical Myung-jun, bring depth to the narrative. Their evolving relationship, along with the story’s conclusion, stand out as some of the strongest elements.
All this unfolds within the high-stakes environment of North Korea, where constant surveillance and harsh consequences for any breach of the rules loom large. The oppressive setting lends the story a tense, thriller-like quality. As is often the case in South Korean storytelling, North Korea is depicted in a bleak light, though Kim offers nuance through Myung-jun, who remarks that not everything in the country is bad, a sentiment also embodied by Bok-joo.
The editing, with its measured pacing, suits the setting and story nicely, allowing the plot to unfold effectively within the concise 73-minute runtime.
Despite technical limitations likely stemming from a low budget, “The Square” is a striking achievement in animation, with its layered story carrying it compellingly from start to finish.
