One audience member’s memorable response to the UK premiere of Lee Won-suk’s Killing Romance was that it was “incredibly weird – but delightful.” This insane comedy, starring Lee Hanee and Lee Sun-kyun, takes viewers on a twisted journey through the life of Hwa Yeo-rae, a viral internet star trapped in a controlling marriage. To escape her evil husband Jonathan Na, Yeo-rae teams up with her eccentric neighbor Beom-woo, and together they concoct a series of increasingly bizarre murder plots. While the premise may sound like a traditional neo-noir, Director Lee’s unique vision transforms it into a delirious live-action Disney cartoon.
Due to the challenges posed by the COVID-19 pandemic, the production of Killing Romance turned into what Director Lee calls “a traveling circus.” Forced out of their Seoul studio, the crew had to adapt, moving from one location to another and shooting on the fly. This unorthodox approach resulted in some scenes being poorly executed and unusable, but it also infused the film with a dreamlike quality that defies logical scrutiny. Lee openly acknowledges the imperfections but advises viewers to “go with it” without questioning the narrative’s inconsistencies.
Strangely enough, Killing Romance was originally intended to be a traditional drama. The script, written by renowned Korean writer Park Jeong-ye, caught Director Lee’s interest. However, circumstances led him to put the project on hold. When the opportunity resurfaced, the production company allowed Lee the freedom to make the film however he pleased. Seizing this chance, Lee decided to transform the story into a fairy tale, a departure from the expected. In Korea, where unconventional scripts often face difficulty securing investors, Lee’s creative liberties enabled him to explore uncharted territory while retaining the essence of the original script.
Killing Romance premiered in Korea in April and elicited mixed reactions from the audience. Some loved it, while others loathed it. The film quickly became a subject of debate on the “Golden Egg,” a popular aggregate review site similar to Rotten Tomatoes. Within two hours of its release, Killing Romance shattered the record for being the fastest film to crack the egg. However, thanks to a passionate fan base, the cracked egg turned into the golden egg once again, setting a new precedent in Korean cinema history. Twitter and other social media platforms played a pivotal role in the film’s changing fortunes. Audiences on these platforms discovered new symbolism and interpretations with each viewing. Director Lee was both surprised and amused by the hidden layers his audience found in the film, many of which were unintentional on his part.
Director Lee attributes the film’s success among fans to their active engagement through social media. Initially wary of Twitter and its users, he now appreciates how Tweeters have embraced Killing Romance, dissecting its nuances and posing thought-provoking questions. While Lee confesses that many aspects of the film were not meticulously planned, audiences believe every detail was deliberate and loaded with meaning. The unexpected connection formed between Lee, the director, and the audience has been a pleasant surprise. Lee now finds himself engaging with fans regularly, responding to their inquiries and comments, fostering a unique bond between creator and consumer.
Killing Romance defies categorization and challenges traditional storytelling norms. Its blend of genres and unexpected twists create an unconventional yet delightful cinematic experience. Director Lee Won-suk’s decision to transform the script into a fairy tale opened new doors for creativity and allowed for a deeper exploration of the narrative. While the initial reception in Korea was divisive, the film’s fan base, fueled by social media, has propelled it to new heights and sparked vibrant discussions about its hidden meanings. As Killing Romance continues to captivate audiences around the world, it stands as a testament to the power of embracing the unexpected and the magic that can arise from unconventional storytelling.