Busan 2019 Review YOUTH LIGHT conveys the desperate struggles of the younger generation in South Korea

Busan 2019 Review YOUTH LIGHT conveys the desperate struggles of the younger generation in South Korea

The acute difficulties of South Korean youth and the dog-eat-dog-mentality of the company's workplace are the focus of writer-director Shin Su-won's fourth feature film, "Light for Youth." With the help of the Glass Garden (2017), Madonna (2015) and Pluto (2012), Shins' previous films highlighted the social injustices and inequalities of society's upper echelons and peripheral areas. The light for young people is informed by a similar theme, which is closely related to Hell Joseon's daily and ongoing narrative, into which the younger generation of Korea has immersed themselves, although the film contains less dramatic genre elements than other works by Shins. South Korea's record youth unemployment rate has remained a hot topic as it has given birth to several films and television dramas documenting the difficulties of the millennia. Although it is well-kept soil, the Light takes full advantage of the premise of its central mystery to the Young, taking wise and unexpected turns to pack many heartfelt emotional shocks. Shin shows full commitment to passing on the desperate struggles of the young people of his peoples without restraint, and his sincerity is undoubtedly appreciated by his target audience. The light for young people is set in a breathtaking call center (ironically called the Human Network) where operators are tasked with calling and reminding individuals to pay their overdue credit card bills. June Lee (Yoon Chan-young) is a 19-year-old trainee in a physically and emotionally vicious work environment created within seconds of opening movies when she wears an adult diaper because toilet breaks are tantamount to a death sentence, and all missed calls are immediately deducted from employees' salaries. The call center is run by middle-aged Se-yeon (Kim Ho-jung), who is also the mother of Mi-rae (Jeong Ha-dam), a graduate who is practicing in another company and looking for full-time jobs on the side. Se-yeon is under pressure to ensure that its insufficient marketing opportunities match their quota; any shortcomings will take him one step further from moving to the corporate department, a long overdue promotion he has repeatedly gone through. Together with other co-workers, the supervisor guides his or her supervisor in June by humiliating clients who refuse to pay through emotional manipulation and threats, introducing his or her family's personal information over the phone. Should the need arise, he will go to their place of residence to collect physical payments. It is only a matter of time before a gentle and perceived photography student is driven to the end of his mind when Se-yeon tells him to pay at any cost to an economically disadvantaged client. One day, June disappears and he is nowhere to be found. Then, in June, Se-yeon will receive a series of suspicious videos, each strangely titled "Life Practice." The Light for Young People looks at the Korean slave laborer culture, gender discrimination in the workplace, and the unique problems faced by contract workers, who are treated as disposable items. The main characters of Shins earn our sympathies with ease, and each of them does his best to stay afloat in a competitive, high-rise building with high stakes and no room for any slips. When Se-yeon is investigated on charges of Junes's disappearance, his default status as a subdog in the workplace allows a woman over the age of 50 who has so far climbed the ladder to a higher position of power, thus expressing sympathy for the audience. at a selfish length, he is willing to go to cover up his company's labor law violations and maintain the status quo. Even for the most benevolent films, self-preservation eventually prevails over the moral code when they are pushed to the brink. Do you know what a salary is? That's what you can pay for the sale of your dignity, Se-yeon says in a June statement that immediately summarizes the life practices his company gives to their interns. But his younger, less experienced colleague, who eventually teaches Se-yeon the definition of his own life practice, takes the disappearance of June and the game he makes him play to reveal his whereabouts to remind him of humanity he had long since given up. Some films play escape rooms with the theme of a mercenary's death, sculpting, a joyous radio song titled "I Was a Man," adapted as gimmicks and too nosy. But they work to keep the tensions around Junes and the tensions persisting, keeping the audience on their toes as they work with Se-yeon to put together the pieces of the puzzle that June has left behind. The side test of Mi-rae, the daughter of the Seionians (a name that means future), is a straightforward approach to the difficulty of finding a job after graduation. When the current internship contract has ended, Mi-rae has finally been selected for an open recruitment call for a selected reputable company after 32 previous failed interviews. However, his journey is experimental, and Jeong Ha Dam is painfully relative as a desperate young adult who has been beaten by a system that offers no consolation prizes to those who give their best but remain second. Despite the sharp reality that the light blames on the Young, the ending films at the end of the tunnel allude to some light. Maybe there will indeed be a light for young people in the future. Do you feel that this content is inappropriate or violates your rights? To report it, click here or see our DMCA policy.

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