“If you want to stop time, try running.”
Divine Sung’s first feature is a precious coming-of-age story about grief, identity, and first queer love.
Written by Xiaoyi Wang
In Korea’s difficult society regarding its queer acceptance, Divine Sung decided to create a safe and freeing environment for her characters in her first feature, Summer’s Camera, despite the reality. I had the chance to watch this film during the 20th Korean Film Festival in Paris, accompanied by a Q&A session with Sung after the screening. It received much acclaim as it premiered around the world for good reasons. The careful words and cinematography were handled with such elegance that it made the experience feel like reading through poetic prose.
The story follows our young protagonist, Summer (Kim Sia), a quiet girl who has just started high school. Her father introduced her to photography when she was a kid, but when he passed away in an accident some years ago, she stopped. She would still carry the camera that he gave her; there were still some shots left on the roll that Summer couldn’t bring herself to use. That was about to change at the start of high school, when she saw Yeonwoo (Yu Gaeun), the school’s football star.
The return to her passion for photography marked her first romance. When Yeonwoo asked Summer if she would gift her the photos she took, Summer, who was spellbound in love, accepted straight away. When she went to develop the roll, to her surprise, it came with old photos that her father took, back when he was young and in love. The only clue about the other figure was a name tag, “Maru” (Kwak Mingkyu).
When Summer found the stranger, who was working as a hairdresser, she confronted him about his past with her father. As she learned more about her father and her own relationship with Yeonwoo blossomed, a peculiar friendship with Maru was formed between the pair. Maru took in this girl who wouldn’t stop coming to him at the salon, hassling him with questions or her own uncertainty about her girlfriend. He took care of her almost like a parent, and she trusted him the same. Deep down, they reminded each other of him.
Divine Sung’s story is brimming with tenderness and innocence. The careful attention to detail and metaphors make you appreciate every object on screen. Since the beginning of the film, Summer has carried with her a disproportionately large red bag on her shoulders; when you watch her run, the flaps on her backpack dance around her. No one ever questions it or points it out but you, in your mind. As the film progresses, you then come to understand that this is a metaphor for the weight she carries from her father’s passing.
It may be a common trope of the shy girl falling for the popular football star, but I would be lying if it wasn’t still as sweet and euphoric. Summer navigates her first love, which reflects light into unseen corners of her own self. The bright graphics shine with youthful summertime, back when every sentiment is augmented because of its newness. Summer and Maru’s friendship was my favorite; they are not of the same generation, but they understand each other more than anyone else. The care and trust they have for each other are unique in this picture — the most precious part of this delicately crafted and finely delivered story. As it is Sung’s first feature, it could use some small polishing on the plot transitions and a tighter ending to stay immersed throughout the ever-changing story.
All the cast delivered heartfelt performances in their roles, making the film all the more lovely. Kim Sia’s portrayal of Summer was exceptional; it was no surprise when Sung revealed she had thought of casting Kim since writing the script. Summer’s character is layered with her growing identity and burdened past; this was perfectly translated by the young actress. Truly a tailored role.
The cinematography by Lee Jimin had me gasping in my head over how perfectly crafted it was. As the title suggests, photography itself is already a prominent element. Lee’s camerawork is almost in dialogue with Summer’s camera. The film is filled with fragments that flash back to moments in Summer’s father’s old pictures. Sometimes they are stills, videos, other times blurred in slow motion, almost like a dream. A constant exchange of poetic prose. When it comes to Summer and Yeonwoo’s love, the cinematography captures every small gesture of deliberation and looks of longing ever so beautifully.
In the end, the film demonstrates a more than capable director whose work is one to look out for, proving Sung’s ability to braid a poignant story with endearing characters. I was more than happy to have spent an hour and a half with this story, watching her paint a portrait of Summer that draws you into a memory in time, riddled with love and grief.
Summer’s Camera had its French premiere in Paris at the 20th Korean Film Festival in Paris, presented in the Paysage section. Streaming options are not yet available.
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