Ambiguity, unanswered questions, intense seclusion, the divide between rich and poor, upbringing and a yearning for more in society. This was a slow burning (no pun intended), multi-layered masterpiece written and directed by auteur, Chang-dong Lee. Burning was one of the more gripping and mesmerising films that leaves you wanting more, despite the two hour and twenty-eight minute run-time. The film at its core is a love angle between three youthful Korean people with secrets and jealousy come to surface. This plays off one of Haruki Murakami's short stories in The Elephant Vanishes, "Barn Burning" perfectly, and develops that into a sinister rollercoaster.

The story plants read hearings and foreshadowing perfectly multiple times in the film. Hae-Mi, a vulnerable woman representing all of the pressures of Korean society (society in general), who is insecure about her own looks, searching for a purpose, is at the heart of this. The pantomime scene strikes accord with you instantly, playing into the themes of uncertainty where Hae-Mi’s statements come under question in regards to validity. Is there a cat? Was there a well? Jong Su, expertly played by Yoo Ah-in, our main protagonist serves as the main focus throughout the run time as her searches for hope, Hae-Mi, after she mysteriously goes missing after bringing back Ben (Steven Yeun) from her trip to Africa. Ben, true to the aforementioned Barn Burning story, has an unusual hobby, burning greenhouses every two months, but serves as the root of Jong-Su’s jealousy. Not only due to his relationship with Hae-Mi, but his apparently wealth and his stress free lifestyle. The acting is so engrossing all the way through. The range of emotions and themes all perfectly blended in, with the help of the direction.

The story is a mystery. The mystery of Hae-Mi’s disappearance, the missing cat that Jong-Su’s been asked to look after, Ben’s involvement and Jong-Su being out to uncover it all. It’s hinted at that Ben’s hobby is only a metaphoric symbol for him preying on vulnerable women, Hae-Mi included. Jong-Su finding no greenhouses burnt, the apparent memberillia found in Ben’s bathroom of his previous girlfriends such as the pink watch Jong-Su gifted Hae-Mi at the start of the film, and the new cat Ben has taken in, one that answers to the same name of Hae-Mi’s missing cat - “Boiler”. This would ultimately seal the fate of, not only Ben, but Jong-Su too. This would lead to a sudden and antongnising ending that left a big imprint on my personal self.

The direction, cinematography and camera work is expertly crafted by Chang-Dong, with the help of Hong Kyung-pyo. Every shot was stunning, the use of dark colours fit the dreary motif of the events on the screen. The long shots allowed for an engrossing experience. The lingering camera work only heightens the tension and unease.

Overall, we are left with an arthouse film with an impactful story to tell. I’ll use that word again - masterpiece - it’s the only adjective that fits description.