Like Paul Greengrass, Korean filmmaker Kim Jee-woon’s output in the 2000s had me thinking he was going to be one of the All-Time greats. This was a film made during his ascent, not as close to perfection as A Bittersweet Life and I Saw the Devil, but already miles above most other directors. Two Sisters is complicated in the writing and exactingly precise in the filmmaking, which is an absorbing mix. Of course, when a story decides to play with time you have to ask if there’s a purpose or if it’s just about keeping valuable information for the end in order to throw surprises at the audience. I can understand frustration at the film being so mysterious for so long, but I don’t think a strict chronological presentation would’ve been interesting or suspenseful.
The story is a melodrama, but it looks and sounds like a horror movie. Light on big scares Kim creates moments that play on your nerves, surreal interjections or supernatural spookiness. It’s not outright fear, but a mistrust between the characters and a feeling it will end terribly. There’s a rich, velvety texture to the lighting and the fabrics of the furniture and clothes. The sharp edits to shocking imagery rarely include stinging music cues. He just lets the cuts do the work. He also creates unease with strong ambient sounds, avoiding jump scare banging noise.
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