Memories of Murder

Summary: 10/10: one of the greatest crime films of the 21st century, a perfect marriage of Bong's satirical instincts and his capacity for devastating emotional truth. This is a great mystery film featuring comically inept police detectives, and it stands as one of the best Korean films of all time. (The other top contender is probably Parasite, also by Bong Joon-ho.) This is a must-see for any cinephile. The script and the direction are perfect. The story is based loosely on the Hwaseong serial murders, one of South Korea's first real serial killer cases. The crimes went unsolved for more than twenty years, a frustrating reality that Bong transforms into devastating cinema. What begins as dark comedy, bumbling rural detectives beating confessions out of innocent suspects, contaminating crime scenes, relying on shamanism and "instinct", gradually darkens into something far more despairing. Bong Joon-ho does an incredible job creating a realistic film while developing a sarcastic commentary on police incompetence. He went to great lengths to achieve realism, famously using a real sex worker in the massage parlor scene with Song Kang-ho. But the realism serves a larger purpose: as the investigation drags on, even Detective Seo from Seoul, the supposedly competent detective armed with modern forensic techniques, finally loses it. No one is immune to the frustration, the moral compromises, the slow erosion of faith in justice. Song Kang-ho is extraordinary as Detective Park Doo-man, written specifically for him by Bong. His face becomes the film's emotional center, particularly in those straight-on close-ups where Park stares into suspects' eyes trying to divine guilt or innocence through sheer force of will. The final scene, set in 2003 when the film was released, features Park breaking the fourth wall, staring directly into the camera (and by extension at the audience) searching one last time for those murderous eyes among us. This is masterful filmmaking that balances tone with surgical precision: funny until it isn't, suspenseful until suspense gives way to existential dread, a procedural that becomes a meditation on failure, both personal and systemic. The film asks what it means when justice remains forever out of reach, when killers walk among us undetected, when competence and incompetence alike prove equally powerless.