“Did You See It?” is a review column where we watch trending movies firsthand and share honest impressions and key takeaways. <Editor’s Note>
[Edaily Starin Choi Hee-jae Reporter] Labor, class, capital, society, desire, relationships, the past, victims. The keywords that make up this film are, without exception, weighty and far removed from current trends. The film tackles these challenging subjects head-on by borrowing the format and structure of a documentary. Yet, the title is “Love.” Why is that?

There’s no immediate answer as to whether it’s good or bad, or whether it’s entertaining or not. What is certain, however, is that it offers plenty to think about.
Director Lee Chang-dong seems to have trained his lens on that very point and brought it into sharp focus. In an era where people don’t listen or look closely—an era where everything, even labor and human lives, easily “vanishes”—*Possible Love* is a film that asks questions, listens, and shows—to the point of tedium—leaving the audience with lingering questions.
*Possible Love* tells the story of two couples—Ho-seok (played by Sul Kyung-gu), a laid-off worker, and his wife Mi-ok (played by Jeon Do-yeon); and documentary director Ye-ji (played by Jo Yeo-jeong) and her husband Sang-woo (played by Jo In-sung)—who meet to produce a documentary and come face to face with each other’s different lives and hidden desires.
Director Lee Chang-dong stated at a press conference for the winners of the 83rd Venice International Film Festival, “The story began with a wave of layoffs at a major corporation in Korea about ten years ago.”

It was such a weighty subject that even this master filmmaker once considered abandoning the project due to his concerns about the ethics and responsibility of the creator. Yet, he portrays it neither in a lofty nor grandiose manner. The camera follows the characters, closely observing their posture, the way they hold their glasses, and even the moments when they feel uncomfortable around one another. It demonstrates that even when people share the same space, each occupies a different place.
What is merely a video that some people watch years later, wondering if such events ever happened, is for others the pain of losing a life and a colleague. What is merely a topic of conversation for some is a struggle to make ends meet for others; the poverty that some pay a price to experience is, for others, simply life itself. In the process, people who do not take center stage—such as foreign workers and domestic workers—also appear, existing on the periphery of the narrative.
That is why this film does not offer a single answer. It is individual yet not purely personal; it is defined by a single event yet is far from simple. Interpretations are bound to vary depending on the viewer.
That said, it isn’t entirely depressing or difficult to watch. There are moments here and there that will make you chuckle. The ensemble cast’s performances appropriately support this heavy narrative.

Jeon Do-yeon delivers more than half of the dialogue. She draws the audience into the story, makes them tilt their heads in puzzlement, and by the end of the film, shares a (metaphorical) glass of soju with the audience. She portrays a character who never loses herself, even amid the tedium of daily life and an inescapable sense of precariousness. If you follow Jeon Do-yeon’s journey, you’ll find the film’s title at its conclusion.
Seol Kyung-gu’s performance feels reminiscent of his early work. With an awkward, stiff yet sorrowful gaze, he portrays a character who could exist anywhere. In scenes where he pours out his emotions, he leaves the viewer breathless. His piercing gaze, familiar from the screen, is vividly present.
Jo Yeo-jeong plays Ye-ji, a character who reflects director Lee Chang-dong. While making a documentary, she believes she is different from others, yet she also knows this isn’t true. Caught in this tension, she feels guilt and self-loathing. Her seemingly innocent smile conceals sadness, irritation, shame, arrogance, and resignation.
Jo In-sung brings a sense of tension. Although he is the character who stands out the most in the flow of the story, he was crafted in a way that avoids clichés. He doesn’t try to force a distinction, but because he is someone who understands the difference between “different” and “wrong,” that line is actually quite clear. Jo In-sung’s tone perfectly captures this character, who is both charming and deceptive. It’s easy to see why Director Lee Chang-dong was so eager to work with him.
The music is used sparingly. A single theme delivers impact at the beginning, middle, and end of the film. The characters’ words, sighs, and the sounds of waves and wind serve as the film’s soundtrack.
At this point, one’s attention is drawn to the ring fingers of the characters on the poster. It is love that, even when it grows loose, finds its way back to its rightful place. It is love that transforms uncomfortable and daunting moments into memories rather than endings. “Love, as Much as Possible.” Directed by Lee Chang-dong. Runtime: 164 minutes. In theaters September 23. Streaming on Netflix in November.