Interview: ‘Train to Busan’ director builds low-budget paradise to test human existence

Director Yeon Sang-ho / Courtesy of CJ ENM

Director Yeon Sang-ho said his latest low-budget psychological thriller “Paradise Lost” explores human identity, the double-edged nature of filling a loss and a story written by his mother.

The director explained that the movie uses artificial intelligence (AI) technology to examine human existence and emotional boundaries, rather than simply warning about its dangers.

“Trying to replace what you’ve lost always has two sides,” Yeon told The Korea Times at a cafe in Seoul on Wednesday, recalling how he often discussed existential literature, such as Albert Camus’ “The Stranger,” during his college years.

“The main character So-young’s choices may or may not be emotionally understandable to viewers by the end, but I think that gap creates a necessary story in today’s AI-driven world.”

The film centers on So-young (Kim Hyun-joo), a mother trapped in grief nine years after her son Sun-woo went missing along with 12 other children on a school bus.

To endure her pain, she interacts daily with a virtual version of her child through an augmented reality program. However, she collapses when a grown-up Sun-woo (Bae Hyeon-seong), unexpectedly returns as a total stranger.

“Existentialism sounds complicated, but I hope viewers can simply talk about this movie together,” Yeon added. “I think talking about it is already a debate on human existence.”

Actor Kim Hyun-joo, center, in a scene from “Paradise Lost” / Courtesy of CJ ENM

Yeon revealed that the story originated from a three-page draft penned by his mother, which depicted a woman’s tragic choice regarding her troubled son.

“I didn’t ask her why she wrote it. Making this film was my process of trying to understand her text,” Yeon said. “Parents and children think they know each other well, but they often don’t. While I couldn’t fully understand it 100 percent, I came to the conclusion that creating a perfect paradise in real life is no easy task.”

The director also commented on whether AI could ever replace human actors in the film industry, expressing skepticism about technology replacing the unique social identity actors carry.

“It is not easy for AI to replace actors,” Yeon said. “Acting is not like a 100-meter sprint where clear records are set. Audiences judge a performance based on a complex combination of skill and the actor’s image. An actor’s identity given by society is crucial, so AI will struggle to replace that. AI represents the sum of universality, whereas cinema is the sum of originality.”

Actor Bae Hyeon-seong in a scene from “Paradise Lost” / Courtesy of CJ ENM

Made with a modest budget of around 500 million won ($374,000) and a small crew of about 20 people, “Paradise Lost” follows the commercial success of Yeon’s previous 220 million won indie project “The Ugly.”

“Thanks to the success of ‘The Ugly,’ we were able to share incentives with our staff and actors and gain the confidence to start ‘Paradise Lost,'” Yeon said. “If ‘Paradise Lost’ doesn’t completely fail, I want to keep making low-budget projects like this.”

He expressed deep trust in lead actor Kim, who previously starred in several of his works, including “Hellbound” and “Jung_E.”

“I simply trust her and leave the role in her hands,” Yeon said. “She thinks deeply about what she wants to express, far beyond what I initially imagine.”

“Paradise Lost” hits local theaters on Oct. 21.