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Adapted from a novel by Korean-Swiss writer Elisa Dusapin, this subtle yet refreshing drama follows 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: Koya Kamura’s first feature also resides in a liminal space of the spirit, with Sooha, left behind by her father from France while she was still in utero, caught between two cultures. After the francophone hostess is forced to accompany the enigmatic author, she loiters uneasily between strained companionship and complex desire.

Everyday Existence and Disruption

If not enjoying visually stunning seafood prepared by her mother who sells fish (Park Mi-hyeon), Sooha is lolling about with her partner (Do-yu Gong), an aspiring model aiming for a relocation to Seoul. However this familiar rhythm is overturned when the outsider takes up residence for a long-term stay. At first matching her prejudices about rude French men, he turns out, after an online search, to be acclaimed graphic novelist Yan Kerrand. Arriving in Sokcho in search of inspiration, he manages to extract the account of Sooha’s absent parent from her. She spies on him through a vent – but it remains to be seen whether he’s a surrogate parent, or another figure entirely.

Emotional Landscape and Thematic Depth

Sooha’s buried emotions erupt in bursts of secret, winding moments of physical constraint and liberation. We are privy to only her inner life, though; Yan remains a distant figure, upholding his loner ethic and sparing with details of his history. His cipher status, as Sooha projects her needs on to him, is intentional – but this one-sidedness hinders Winter in Sokcho from reaching its full potential. Visual style – and restraint, with Sooha’s parent and partner both advocating cosmetic surgery on her – is clearly a central idea for Kamura. But despite Yan’s profession, it seems a bit separate from the primary narrative, like the mysterious wrapped guest also in the guesthouse.

Performances and Cinematic Craft

The trio of strong acts at the core – an nearly aggressive Roschdy Zem, increasingly scattered Kim, and the self-absorbed Park – give Winter in Sokcho its solid centre, and if Kamura doesn't fully narratively contain the cautious standoff between hotelier and visitor, he is always on his toes emotionally speaking, often dipping into a tactile visual register. Fixating on absence, threatening to drown in internal sensations, Kamura musters an intriguing kind of modern ghost story.

The film can be seen on the streaming service from November 7.