Hyunsuk Kim, “Pinki” (2018)
Initially looking like a Korean mash-up of Neil Blomkamp’s “District 9” and “Chappie” with The Transformers film series and Joonho Bong’s “The Host”, “Pinki” turns out to be a charming urban fairy-tale about the importance of memories in forming our identities and giving us motivation and purpose in structuring our lives. Korean salaryman Taehwan (Sungchun Han) is chased through the narrow streets of a city neighbourhood by a huge scrap-metal monster (Daekwang Lee) and is almost crushed until a mystery pink-haired girl (Serin Kim) comes between them. The girl and Taehwan manage to get away; in those moments where the junkyard horror is far away, the lass puts Taehwan into a trance that transports him back to his childhood and adolescence in which he is playing with his portable cassette player and later a portable CD player. When the monster catches with the pair and threatens to drag Taehwan’s new friend and saviour away, the businessman must try to figure out the girl’s name to save her from the monster’s clutches by delving back into his childhood memories.
The film is based on an old East Asian idea that items improperly disposed of and forgotten have a way of haunting their owners as ghosts. Only when properly acknowledged and respectfully let go – which may mean also honouring the role they played in their owners’ lives in the past – will these old items stop plaguing their owners. There are other themes present in “Pinki”: through rediscovering his precious pink cassette player, affectionately called Pinki, Taehwan rediscovers his youth, and all the feelings, motivations and ambitions he had then. Viewers may see the inklings of a transformation from everyday generic office-worker to an individual more fully in control of his life and his destiny, one who has rediscovered his childhood imagination with the objects of that childhood and the memories they evoke. There may also be a gentle reminder that precious items – and people, animals and plants as well – should be valued and not given up for trash when their immediate utility has passed.
The film is notable for good acting with very minimal dialogue. Characters establish themselves through their actions and the decisions they make. Initially Taehwan is a coward, an empty vessel, in abandoning the girl and running for his life from the monster; he later becomes a hero when he throws himself between the monster and the girl once he understand the girl’s importance to him. The other characters – the girl and the monster – are not so clear-cut and are one-dimensional but their roles turn out to be those of teachers and mentors to Taehwan, urging him to take control of his life by remembering where he came from. As with so many science fiction short films picked up by the DUST channel, there is a twist in the plot but for once it’s a twist with a happy ending.