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Joon-ki (Jang Hyuk) was once a former rugby athlete and is currently a popular physical education teacher at an all-girls' high school. His pregnant wife Seo-yeon (Sunwoo Sun) is due to give birth to their first child imminently. Although he's used to playful advances from pubescent students, things take a dangerous turn when Young-eun (Jo Bo-ah) falls hard for her teacher and daringly confesses her feelings for him. Amid growing rumors, he is soon consumed with guilt and attempts to end the relationship. However Young-eun's pure crush slowly turns to obsession. She starts to regard everyone related with Joon-ki as obstacles, and the farther he keeps her away, the bolder her obsession and madness grows.[3][4]

The film reunited director Kim Tae-kyun and actor Jang Hyuk for the first time in thirteen years since Volcano High (2001).[5][6] Kim first encountered the screenplay in 2007 at a competition, and he was won over right away, captivated by the blurred lines between love and obsession. He called the film "an experiment" due to its eclectic mix of suspense, horror, melodrama and romance, and that his use of cinematography and camera techniques were essential in delivering the "feeling of being trapped." Wanting the schoolgirl character to embody both innocence and pure sex appeal, Kim auditioned 250 actresses, before casting Jo Bo-ah in her big screen debut.[2][7]

Download Film Innocent Thing

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Story: Joon-gi (Jang Hyeok) is a physical education instructor at a girls school and because of his looks he is very popular with the students. One of them, Yeong-eun (Jo Bo-ah), has fallen under his spell particularly strong and doesn't miss any opportunity to be near him. At first, Joon-gi is annoyed by the girl's advances, but at some point he starts to have problems getting her out of his head. Eventually, this leads to a kiss between the two. Joon-gi is married and his wife Seo-yeon (Seon Woo-seon) expects a baby, which is why he soon realizes his mistake and wants to end this "relationship". But Yeong-eun blackmails him and forces him to continue meeting her. The girl's obsession even extends to her taking private lessons from Seo-yeon just to be near Joon-gi, who now avoids her. While Seo-yeon suspects that something isn't right, Yeong-eun's jealousy of the teacher's wife becomes stronger and stronger so that Joon-gi even starts to fear she might do something stupid. And in fact the girl turns out to be very capricious, her love making her a real danger to Joon-gi's family.

Review: An affair with a schoolgirl, who eventually turns out to be a dangerous lolita, isn't really anything new, but director Kim Tae-gyoon in fact puts a lot of effort into bringing some color in a movie that easily could have been a shallow romantic flick or a drama that sits heavily on your stomach. The reason for that being that Kim approaches his film like shooting a psychological thriller which still doesn't go without a certain drama flair, yet refrains from becoming a tearfest at the end. Therefore, "Innocent Thing" is a surprisingly well-achieved mix of different genres, although there certainly is a lot to criticize about the characters who are going into different extremes. Somehow the feeling sticks with you that these individuals couldn't exist like that in reality and this takes a lot of credibilty from the thriller drama.

First, the movie starts like a romance that inevitably heads for drama. A schoolgirl has fallen in love with her teacher and develops an obsession. Soon some horror elements creep in and as things progress Yeong-eun turns out to be more and more odd and unpredictable, which makes for an adequate groundwork for a lot of thrills. Actress Jo Bo-ah up until now has only been known for her roles in some drama shows, but her performance is quite respectable. She embodies the innocent and yet sexually appealing. Something that Joon-gi, as well as most men, can't resist when the girl makes advances at him in a very obvious manner. What direction all of this is heading in is pretty apparent from the getgo, so "Innocent Thing" doesn't get any points for originality here.

Yet, director Kim Tae-gyoon, who already shot the truely awful romantic flick "Romance of Their Own" or "Crossing", has some interesting ideas. For instance, there is the wife who doesn't simply act like a victim, but who herself goes to some pretty extreme lengths to save her marraige. The extreme is accordingly something that runs through all the individuals and not only Yeong-eun, who becomes more and more dangerous by the minute and whose obsession and very presence is already nerve-racking. As mentioned before you have to somehow get used to the extreme acting of the individuals, because they aren't always believable. But to make up for this the director sketches a pretty complex picture when it comes to who is to blame for all the mysery. After all, it isn't that easy to make out who the actual victim is.

Jang Hyeok ("The Flu", "Windstruck") seems to be the character we are supposed to root for most of the time, since he is about to lose his whole familie, because of a small mistake - a kiss, which Yeong-eun almost forced on him -, and since Yeong-eun turns out to be a psychopath. Then again you have to ask yourself if the teacher shouldn't have nipped the girl's puppy love in the bud, especially considering that his wife expects a child. Any way you look at it, the question of guilt isn't easy to clarify and particularly the movie's last picture refers to this in a well-achieved manner. Furthermore, director Kim knows how to leave the viewer in limbo. Some scenes shown are after all just the product of someone's imagination.

Besides a bloody scene, which better had been left out, even the more as this would have made one of the characters less extreme and the film probably more complex, there are also a few appealingly executed sex scenes that have a strong erotic touch to them and aren't just unnecessary embellishment. The directing is particularly conspicuous concerning a few camera angles. There are scenes that make it pretty obvious that Kim Tae-gyoon wanted to experiment and not just deliver your usual drama/romance or thriller stuff. He deserves some praise for that, even the more as in general he succeeds in combining the different genres. In a certain way "Innocent Thing" is still predictable, though, and as already said struggles with its lack of credibility which isn't just the result of chance occurences but also of the extreme characters. However, the ending really manages to bestow some depth on the thriller, which is the reason for it to get a better rating than first intended.

What do you do when your citizens come upon something new? You must ban it, obviously. New things lead to new thoughts, which lead to new actions, which lead to your downfall. New things also have direct physical effects, which can lead to the end of the world. The exact science may be uncertain, but that was no obstacle back when...

Sam Avery is a writer-director known for storytelling that walks the line between fiction and reality. He studied Drama and Art at Mayfield Secondary School and holds a BFA in Media Arts from the Ontario College of Art & Design University. In 2010, Sam founded Paradise Pictures Co, which has since produced a number of short films, including Sam's directorial debut "Teen Getaway," awarded Best Live Action Film at the Toronto International Film Festival Student Showcase and from the Directors Guild of Canada. "Innocent Things" is Sam's sophomore film.

First of all WOW. What a movie. I am breathless from it. The plot of Innocent Thing is actually over shadowed by the astonishing acting of the main cast. Jo Bo Ah was amazing as a delusional, crazy, and OBSESSIVE lover who refuses to let go. One second she was a sweet, innocent high school girl who loved the color pink and strawberry milk and the next she is playing around with a carpet knife, scaring the hell out of me with just the look in her eyes.

After 11 seasons of Supernatural, nothing is sacred. Everything we thought we knew, has changed. Here's a list of completely normal and innocent things that have been RUINED by Dean and Sam's sneaky ways.

While depictions of women in Korean cinema have unquestionably greatly evolved over the years - largely in tandem with the changing place of females and indeed femininity within Korean society itself and the gradual, often difficult shift from historically patriarchal ideals of Korean traditionalism to a (certainly somewhat) more equality based, modern and (dare I say) increasingly Westernised male/female footing - regardless of how far back into Korean film history you care to look you'll find repeated dissections of the supposedly dire consequences (to men, women themselves, the family unit and indeed the very fabric of society) of female self-awareness; women's pursuit of personal desires at the expense of familial responsibilities; and the indulgence in baser sexual instincts in flagrant disregard of the moral high ground given to pre-marital chastity; the acceptance of familial responsibility; and love and happiness being achievable only through wedded bliss.

Whether you choose to step back as far as 1936's 'Sweet Dream' (the second oldest surviving Korean film) to a depiction of a female forsaking her family and responsibilities for self-serving pleasure in the embrace of modernity; traverse the Golden Age through classics such as Kim Ki-young's 'The Housemaid' (1960) and 'Insect Woman' (1972) to see hapless men seduced and families destroyed by devious and wanton femme fatales (and in the case of 'Insect Woman' males checking themselves into mental institutions suffering from adultery induced schizophrenia, again caused by women); look at far more recent films for the norms of society's abhorrence of alternative lifestyles ('Yellow Hair', 1990) and cross-generation relationships (1991's 'Lies'; 2005's 'Green Chair' etc); or pick from an utter plethora of movies from all points in between and/or since, the above themes have been so long held and regularly referenced that they have continued to appear as cinematic subtext to a society that itself has increasingly stepped away from traditionalism. In recent years, there has been a noticeable increase in films featuring strong, self aware, self reliant and independent women but whether those tales are of love, sex, adultery or betrayal the above themes could be said to play their part in the subconscious background from which many emerge. 2351a5e196