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	<title>Yoon Eun-Kyung &#8211; Jeremy C. Processing</title>
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		<title>The Tenants (Se-ip-ja, 세입자)</title>
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		<dc:creator><![CDATA[Jeremy Clarke]]></dc:creator>
		<pubDate>Wed, 13 Nov 2024 16:57:10 +0000</pubDate>
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					<description><![CDATA[<p class="wp-block-paragraph">Director – <strong>Yoon</strong> Eun-Kyung – 2023 – South Korea – LKFF Cert. 12 – 90m</p>



<p class="wp-block-paragraph">*****</p>



<p class="wp-block-paragraph"><em>In a black &#38; white, futuristic Seoul, a tenant who sublets his rental apartment to prevent his eviction finds out that this approach has its drawbacks</em> – from <strong>LKFF, the London Korean Film Festival</strong> <strong>2024</strong> which runsin cinemas from Friday, November 1st to Wednesday, November 13th</p>



<p class="wp-block-paragraph">An alluring image turns out to be merely an image on a wall, an artifice rather than the paradise we at first assume it to be. This is an image many filmmakers have used to open their movies and, depending on what they’ve seen over the years, it will conjure different films for different viewers. For this viewer, it conjures what I consider one of the funniest films of recent decades, <em>Quick Change</em> (Howard <strong>Franklin</strong>, Bill <strong>Murray</strong>, 1990) where the image is revealed as a tawdry New York subway train ad above a clown who will shortly proceed to rob a bank.</p>



<p class="wp-block-paragraph"><em>The Tenants</em> may not be a comedy, but it shares with that film a sense of urban malaise, a feeling of being trapped in a grim metropolis where everything about the place conspires to prevent the protagonists leaving.&#8230; <a href="https://jeremycprocessing.com/the-tenants-se-ip-ja/" class="read-more" target="_blank">Read the rest </a></p>]]></description>
										<content:encoded><![CDATA[<p class="wp-block-paragraph">Director – <strong>Yoon</strong> Eun-Kyung – 2023 – South Korea – LKFF Cert. 12 – 90m</p>



<p class="wp-block-paragraph">*****</p>



<p class="wp-block-paragraph"><em>In a black &amp; white, futuristic Seoul, a tenant who sublets his rental apartment to prevent his eviction finds out that this approach has its drawbacks</em> – from <strong>LKFF, the London Korean Film Festival</strong> <strong>2024</strong> which runsin cinemas from Friday, November 1st to Wednesday, November 13th</p>



<p class="wp-block-paragraph">An alluring image turns out to be merely an image on a wall, an artifice rather than the paradise we at first assume it to be. This is an image many filmmakers have used to open their movies and, depending on what they’ve seen over the years, it will conjure different films for different viewers. For this viewer, it conjures what I consider one of the funniest films of recent decades, <em>Quick Change</em> (Howard <strong>Franklin</strong>, Bill <strong>Murray</strong>, 1990) where the image is revealed as a tawdry New York subway train ad above a clown who will shortly proceed to rob a bank.</p>



<p class="wp-block-paragraph"><em>The Tenants</em> may not be a comedy, but it shares with that film a sense of urban malaise, a feeling of being trapped in a grim metropolis where everything about the place conspires to prevent the protagonists leaving.&hellip; <a href="https://jeremycprocessing.com/the-tenants-se-ip-ja/" class="read-more" target="_blank">Read the rest </a></p>]]></content:encoded>
					
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