Writer/director Shin Su-won’s latest feature, Hommage, celebrates filmmaking as a form of time travel. Every film is a snapshot of the world it was made in, and whether it’s a period piece, sci-fi, or fantastical film, there’s something to be gleaned about the life of the writer and why they chose to tell their story in that manner. What in their present time and their personal circumstances influenced them? In the case of Hommage, the fictitious story Su-won tells is mixed with real-life events to create a magical blend of filmmaking and actual efforts of preservation.
Ji-wan (Lee Jung-eun) is a director who is struggling to make a film that gains both critical and commercial success. Her latest film plays to empty crowds at the local cinema, and she’s often the only one there. Even her son (Tang Jun-sang) and her husband (Kwon Hae-hyo) want her to give up her dream of directing in favor of becoming a full-time housewife. Ji-wan is growing frustrated with the setbacks in her career and has all but given up, but an offer from a local museum to restore an old film changes her mind.
The film in question is from the 1960s called A Woman Judge and its forgotten history is true. A Woman Judge was directed by one of the first female South Korean directors, Hong Eun-won. Unfortunately, in real life and in the film, there are complete scenes missing. Some were cut by censors and others have been lost due to time. Ji-wan is tasked with preserving this historic film, and it’s the first time she’s felt passionate about a project in a long time.
Jung-eun is most recognizable from her role as Moon-gwang, the housekeeper in Parasite. For some of the audience, Hommage will only be the second time seeing Jung-eun in a film and the two roles could not be more at odds. Jung-eun’s performance in Hommage as Ji-wan is much quieter and more subtle than in Parasite. It’s very easy to understand how Ji-wan is able to convince a team to work alongside her in this restoration project because Jung-eun’s performance is incredibly warm. An earnestness radiates off the screen that feels deeper than just Jung-eun’s performance. It’s a feeling that speaks to the film’s core themes of restoration, preservation, and respect, but is so neatly embodied by Jung-eun.
The idea of making a film for movie lovers often feels too on the nose with cutesy jokes and meta references. Hommage is a rare work that is able to convey these deep emotions simply. The film understands what it’s like to not only love movies, but to love the process of creation. To obsess over words in a script, chase down missing reels, and to fight to make something that outlives you. Ji-wan, like the audience who will seek out this film, is a film lover first and foremost.
Ji-wan’s family doesn’t understand the significance of her work as a filmmaker. They see it as frivolous and only judge her success based on her monetary gains (or lack thereof). Film is an artform and money doesn’t always come to those who make something meaningful. The museum offers a meager stipend for Ji-wan’s work and expenses which bothers her at first. However, the deeper into the restoration she gets, the more she realizes its value is intangible. It’s a cliche adage, but there are things in life that money cannot buy. A renewed self of sense and purpose are worth millions, but can only be found through sheer happenstance.
This idea of money denoting what is and isn’t successful resonates given the recent theatre-going slump from the Covid-19 pandemic. Many see summer blockbusters like Thor: Love and Thunder, Top Gun: Maverick, and Lightyear as the much needed jolt to save theaters, but where does it leave small indie movies like the ones Ji-wan makes? She scoffs at the big blockbuster posters she passes on her way to watch her movie alone at the cinema. They can’t and shouldn’t have to compete with films like Lightyear. Theaters give more space to the movies that will bring in millions at the expense of movies with smaller budgets and less name recognition. More than that, opportunities to helm these big name films are not often shared with minority filmmakers.
The lack of care that went into maintaining A Woman Judge speaks to the larger themes of Hommage. The “classics” or what is considered an “essential” film are constructs decided on by men who tend to glorify art made by people like them. This narrow view leaves films like A Woman Judge to fall to the wayside. A Woman Judge is only known because the director is one of the first female South Korean directors. What about the films made by the second, third, or fourth female directors from South Korea? Where have their films gone and who will find them?
Hommage is a tender story about the importance of preserving art, as well as how rare and beautiful it is to find something to be passionate about. The film makes use of actual footage from A Woman Judge, and it was lovely to see this bond created between one of the first South Korean female directors and a prolific contemporary one. In many ways, it is both the real-life Hommage director, Su-won, and the fictitious Ji-wan who are paying their respects to the foundation built by the women who came before them. History has not been kind to minority filmmakers through the years, but Hommage is a big-hearted means of righting some wrongs.
