By Jake Howell jake.howell@utoronto.ca

The Torontonian Reviews: Comrade Kim Goes Flying

Comrade Kim Goes Flying is unique in the truest meaning of the word: it is the first ever Western-financed film to be made entirely in the Democratic People’s Republic of Korea. The comedy of a blue-collar coal miner pursuing her dreams of becoming a trapeze artist, Comrade Kim arrives in the West as wacky cultural camp with a side-order of historical significance.

According to Comrade Kim Goes Flying, North Korea is a happy place; a utopia where everything is possible, everything is colorful, and everything is great. Of course, as our uncensored Google searches reveal, this is an expectedly false representation of the totalitarian state: the regime has a horrifically poor record on human rights, and the hardships endured are very real and very awful. In other words, to see this dystopia depicted so positively makes for some extremely bizarre cinema.

Regardless, the film is still a film – something to critique and watch and enjoy and discuss. In that sense I liken Comrade Kim Goes Flying to Triumph of the Will, where peripheral, international audiences understand the film’s context from an informed perspective on global affairs, while local subjects (at the time of its release) whoop and cheer from beginning to end. Watching Comrade Kim feels like voyeurism, but this film has been exported overseas in hopes that it will renew faith in North Korean values. It doesn’t, obviously, despite the film’s hardest attempts to show infectious smiles, bountiful cornucopias of delicious food, serene pastures, and an invigorating nightlife. The world has never seen North Korea and its people so cheerful and inviting.

We watch films like these with two pairs of eyes: one to consume the film as it is, the other to go wide in disbelief. Like Triumph of the Will, the world won’t watch Comrade Kim for entertainment. The laughs – the ironic scoffs of “yeah, right” – occur mainly whenever a character mentions the potential of the working class, moments where protagonist Kim feels down or unable to accomplish her goal. This is modern-day propaganda meant to inspire the lowest class of North Koreans, not captivate audiences privy to the oppression.

Based on its intended merits, Comrade Kim is a banal, over-the-top comedy. As North Korea isn’t known for its cultural critiques or social satire, the “real” jokes are all physical, never straying from slap-stick humor or silly gesticulations. Knowing audiences will laugh elsewhere, as the film features some “hilarious” meta-comedy when it reinforces the strength of the working class. The message here is clear: labor and effort will always prevail, and anyone with the motivation to become something bigger will succeed in the end. This is the American dream in a North Korean nightmare, but that’s okay: with no swearing, violence, or otherwise negativity whatsoever, the film is (twisted and ironic) fun for the whole family.

Had TIFF placed this film in its “Midnight Madness” programme, a section reserved for visceral horror flicks and genre mash-ups, I imagine the take-home response would have been a welcome respite from the average thrills and chills those audiences have grown accustomed to. Comrade Kim is no average movie: its “WTF” impression is stronger than most anything screened in cinema’s witching hour, as real-world oppression is masked here as something idyllic.

2 Responses to “The Torontonian Reviews: Comrade Kim Goes Flying”

  1. Libby B. says:

    Two thumbs up!

  2. Rex says:

    For those interested, here’s the links to the TIFF intro and Q&A for Comrade Kim Goes Flying, with co-directors Nicholas Bonner and Anja Daelemans. Oddly enough, fellow director, and North Korean, Kim Gwang Hun, was not in attendance (har-har). Bonner in particular is quite candid about the country and its problems, and his prior documentaries, which are NOT propaganda, are essential viewing to understand the importance of this film in spite of its old-fashioned message, necessary lies, and 1930′s “let’s-put-on-a-show” acting style.

    Intro:
    http://www.youtube.com/watch?v=tWizwkJ9r2g

    Q&A (2 parts):
    http://www.youtube.com/watch?v=xLOlhXL_QSs
    http://www.youtube.com/watch?v=2Ol5NLOscfw

    The Q&A for this film was easily one of the best among the 20 I attended at TIFF this year, largely thanks to these engaging directors who weren’t afraid to address audience questions about the reality of North Korea head on.

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DEADLINE: How does a visualist feel about people watching your films on a phone or VOD?
REFN: It depends on what kind of movie you make. We had great success with Only God Forgives on multiple platforms in the U.S. Young people will decide how they see it, when they want to see it. Don’t try to fight it. Embrace it. That’s a wonderful opportunity. We’re at the most exciting time since the invention of the wheel, in terms of creativity because distribution and accessibility have changed everything. A camera is still a camera whether it’s digital or not; there’s still sound; an actor is an actor. Ninety-nine percent of what you do is going to be seen on a smart phone – I know this is the greatest thing ever made because it allows people to choose, watching what you do on this format or go into a theater and see it on a screen. That means more people than ever will see what I do, which is personally satisfying in terms of vanity. But you have to be able to adapt, to accept things in different order and length than we’re used to. We are in a very, very exciting time.
~ Nic Refn to Jen Yamato

DEADLINE: You mention Tarantino, who with Christopher Nolan and a few other giants, saved film stock from extinction. To him, showing a digital film in a theater is the equivalent of watching TV in public. Make an argument for why digital is a good film making canvas.
REFN: Costwise, it’s a very effective way for young people to start making movies. You can make your movie on an iPhone. It’s wonderful seeing how my own children use technology to enhance creativity. For me it’s a wonderful canvas. Sure, I love grain in film. I love celluloid. But I also like creativity. I like crayons, I like pencils, I like paint. It’s all relative. Technology is more inclusive. A hundred years ago when film was invented, it was an elitist club. Very few people got to make it, very few people controlled it and very few people owned it. A hundred years later, storytelling through images is everyone’s domain. It’s ultimate capitalism. There are no rules, and no barriers and no Hays Code. Where does this go in another hundred years? I don’t know but I would love to see it.
~ Nic Refn To Jen Yamato