This piece is part of a series called Jewels Under the Kitchen Sink – here we try to bring films, that have been overlooked during their time, or were (despite their distinctive and timely nature) somehow forgotten, back onto the radar. It’s an attempt at reaching into the dusty niches of time and fishing some true gems out of there. We hope to peak your interest towards some of these films, so they can be reintroduced into today’s film discussion.
There is that kind of film that I love to return to when I feel like my day is reaching a feel-bad peak, often connected to a still image of my room’s ceiling. These wonderful and yet rarely praised films are light, trope-heavy, easy to follow, inherently dramatic and ready to beat up the tearjerk button – all set for a slightly manipulative and cathartic escape from reality, while always having some sort of honest, emotional thread that connects with you and lifts you up. One of my very favorite films of that genre are the two Mamma Mia! outings, both heavily escapist and yet emotionally compelling at the same time. It’s a very hard task for filmmakers to hit that sweet balance and for many cine-dependents like me, the further search for these films never stops. It was a pleasant surprise when Sunny, a film that was a box office smash hit in Korea, yet in the west was almost exclusively known by the loyal followers of Korean cinema, landed on my radar after a good friend recommended it to me.
After the death of one of her old classmates, Na-Mi, a woman stuck in her unsatisfactory role as a middle-aged housewife, sees a chance to gain a new purpose in fulfilling latter’s dying wish and tries to reunite her old school clique. The film intercuts between the tumultuous school days of these girls and Na-Mi’s quest to convince her old friends to reunite for one more time. It’s a premise that seemingly gets re-interpreted by the month, but Sunny is somehow very distinct from them.