Stateless Things (Jultak Dongshi)

Helmer Kim Kyung-mook's "Stateless Things" greater than certifies the promise he shown in the last, medium-length "Faceless Things." Though his script needs tightening, the youthful multihyphenate proves he's ready to tackle large styles in poetic and unusual ways, so when the juggling between tales -- marginalized employees fighting in Seoul, together with a young hustler along with his sugar-father -- doesn't find the appropriate balance, the skill he shapes the tales before they merge together is not under engrossing. "Stateless" might have its passport placed all over the world, and could find asylum at specialized arthouses, some with Stateside addresses. Whether it can get ghettoized in to a queer slot will depend on crix response together with a knowledgeable telemarketer, there's however pointless why the pic shouldn't be capable of span the area between fests and gay showcases. However, critique the feminine protag can get dropped too quickly will most likely dog "Stateless Things" no matter venue. Joon (Lee Paul) can be a service station attendant who fled from North Korea sometime earlier. New co-worker Soonhee (Kim Sae-byuk) is certainly an ethnic Korean recently steered obvious of from China, trying to help keep her mind lower and earn much-needed dough while fending in the undesirable attentions from the exploitative manager (Kim Jeong-seok). Carrying out a violent altercation while using boss, Joon and Soonhee skip out and go ahead and take days wandering the city together -- the helmer card card inserts a enjoyable interlude starting with shooting a tourist touch-screen map that finds a destination, after which it cutting for the two walking inside the selected place. In another part of the city, pretty-boy Hyun (Yeom Hyun-joon, not just a lovely face) is saved by businessman Seonghoon (Lim Hyung-kook) in the chic apartment aerie. It is not exactly a mutual love match, but Seonghoon, apparently mostly dealing with his wife, is obsessed, and jealous that Hyun is still out every once in awhile. Kim weaves inside a few temporal changes, sufficient to accomplish gaps and supply hints for future years that work as anticipatory landmarks. The pressbook synopsis provides more background than appears inside the pic, but nothing feels missing inside the story, which all of a sudden brings Joon and Hyun together right after the 90-minute mark, when the opening credits finally appear. Their dreamlike pairing takes the pic with a remarkably effective level beyond reality, even though disappearance of Soonhee within the screen is abrupt, as if the level of smoothness were only ever an afterthought. The helmer carefully delineates the two youthful men's cell phone industry's: Joon is principally seen in daytime and go out, whereas Hyun is within both penthouse apartment high within the skyline, generally throughout the evening, or possibly inside a windowless club. Where Joon is straightjacketed by his position just like a North Korean outsider, pounding the pavement without a sense of belonging, Hyun, due to his looks, has energy, though he's incompetent at transporting it with techniques making him happy. Whether auds possess the twinning of individuals two marginalized figures works will depend how involved they are inside the film generally. Lensing by Kang Kook-hyun is elegant and deeply satisfying, luxuriating in contrasts involving the city's brutal cacophony as well as the warm lighting in the sophisticated yet sterile penthouse. Editing is fantastically measured, though a bit of trimming wouldn't go amiss. Contact the number newsroom at news@variety.com