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Based on the book by Korean-Swiss writer Elisa Shua Dusapin, this subtle yet refreshing film centers on guesthouse worker Sooha (Kim Bella) as she escorts French writer Yan (Roschdy Zem) to the demilitarised zone just north of the city of Sokcho. Symbolism abounds: Director Kamura's debut film also resides in a liminal space of the soul, with Sooha, left behind by her father from France while she was still in utero, caught between dual heritages. Once the francophone hostess is compelled to chaperone the enigmatic author, she loiters uncomfortably between strained companionship and complex desire.

Everyday Existence and Disruption

If not enjoying spectacular-looking marine dishes prepared by her mother who sells fish (Park Mi-hyeon), Sooha is relaxing with her boyfriend (Do-yu Gong), an hopeful model aiming for a relocation to the capital. However this familiar rhythm is overturned when the foreigner settles in for a extended visit. At first conforming to her biases about rude French men, he proves, on Googling him, to be acclaimed graphic novelist Yan Kerrand. Arriving in Sokcho in pursuit of inspiration, he manages to extract the account of Sooha’s missing father from her. She observes him through a vent – but it remains to be seen whether he’s a surrogate parent, or another figure entirely.

Inner Turmoil and Thematic Depth

Sooha’s buried emotions erupt in flashes of secret, winding moments of physical constraint and liberation. We witness only her inner life, though; Yan stays a remote presence, insisting on his solitary principles and stingy with particulars of his past. His cipher status, as Sooha imposes her desires on to him, is intentional – but this imbalance prevents Winter in Sokcho from reaching its full potential. Aesthetic expression – and control, with Sooha’s mother and boyfriend both advocating plastic surgery on her – is clearly a key theme for Kamura. But in spite of Yan’s profession, it seems a bit separate from the primary narrative, like the mysterious wrapped guest also in the guesthouse.

Performances and Directorial Approach

The three focused performances at the core – an almost hostile Zem, increasingly scattered Bella Kim, and the self-absorbed Park – provide Winter in Sokcho its solid centre, and if Kamura doesn't fully thematically corral the cautious standoff between hotelier and guest, he is always on his toes emotionally speaking, often exploring a physical, sensory imagery. Fixating on emptiness, on the verge of drown in internal sensations, Kamura musters an intriguing kind of contemporary phantom tale.

The film is available on Mubi from 7 November.