사랑의 탄생 The Mutation
Director 신수원 Suwon Shin
Film Information
- Year 2025
- Genre 드라마 Drama
- Country 한국 Korea
- Running Time 108min
- Color Color
Screening Schedule
- Date & Time 6. 20. (Sat) 19:00
- Venue 영화의전당 시네마테크
Program Note
‘세오’(한현민)는 한국에서 태어나고 자란 청년이지만 흑인의 외형을 가졌다는 이유로 늘 돌연변이 취급을 받는다. 유일한 안식처였던 어머니가 돌아가시자 세오는 무작정 여행길에 오른다.
지하철에서 명품 가방 하나를 걸고 무작정 동행을 찾는 세오의 무모함에 ‘소라’(이주영)가 말을 걸어 오고, 그 때부터 두 사람의 기묘한 여행이 시작된다. 뚜렷한 목적지 없이 이어지는 두 사람의 여정은 각기 다른 흉터를 지닌 타자가 각자의 내밀한 상처를 드러내고 보듬는 치유의 의식으로 변모하며, 순수한 연대만으로도 서로에게 넉넉한 위로가 될 수 있음을 보여준다.
신수원 감독의 일곱 번째 장편으로, 사회의 구조적 폭력과 모순을 고발해 온 작가의 관심사가 다시 한 번 선명히 드러난다. 지하철이라는 닫힌 공간에서 시작된 여정이 공원을 바닷가로 나아가는 동안 소외 계층의 두 남녀가 타인과 소통하며 감정의 접점들을 만들어가는 과정이 따뜻하고 뭉클하다.
- 윤성은
Seo (Han Hyun-min) is a young man who was born and raised in Korea, yet because of his Black appearance, he has spent his life being treated as an outsider. When his mother—the only person who ever felt like home to him—passes away, Seo sets off on a journey with no clear destination.
In a reckless attempt to find a travel companion, he offers a luxury suitcase to a stranger he meets on the subway. To his surprise, Sora (Lee Joo-young) responds. From that moment, the two embark on an unusual journey together. As they wander without a fixed destination, their travels gradually become a ritual of healing, in which two people carrying very different scars reveal their deepest wounds and learn to care for one another. The film suggests that genuine solidarity, even between strangers, can become a profound source of comfort.
The seventh feature film by director Shin Su-won, the work once again reflects the filmmaker’s enduring interest in exposing the structural violence and contradictions embedded within society. What begins in the confined space of a subway train gradually expands into parks, coastlines, and open landscapes, mirroring the emotional journey of its protagonists.
Warm and deeply moving, the film follows two marginalized individuals as they connect with others and, in the process, discover unexpected points of emotional understanding. Through their encounters, it reveals how empathy and human connection can create spaces of belonging in a world that too often excludes those who are different.
- Seongeun Yoon
지하철에서 명품 가방 하나를 걸고 무작정 동행을 찾는 세오의 무모함에 ‘소라’(이주영)가 말을 걸어 오고, 그 때부터 두 사람의 기묘한 여행이 시작된다. 뚜렷한 목적지 없이 이어지는 두 사람의 여정은 각기 다른 흉터를 지닌 타자가 각자의 내밀한 상처를 드러내고 보듬는 치유의 의식으로 변모하며, 순수한 연대만으로도 서로에게 넉넉한 위로가 될 수 있음을 보여준다.
신수원 감독의 일곱 번째 장편으로, 사회의 구조적 폭력과 모순을 고발해 온 작가의 관심사가 다시 한 번 선명히 드러난다. 지하철이라는 닫힌 공간에서 시작된 여정이 공원을 바닷가로 나아가는 동안 소외 계층의 두 남녀가 타인과 소통하며 감정의 접점들을 만들어가는 과정이 따뜻하고 뭉클하다.
- 윤성은
Seo (Han Hyun-min) is a young man who was born and raised in Korea, yet because of his Black appearance, he has spent his life being treated as an outsider. When his mother—the only person who ever felt like home to him—passes away, Seo sets off on a journey with no clear destination.
In a reckless attempt to find a travel companion, he offers a luxury suitcase to a stranger he meets on the subway. To his surprise, Sora (Lee Joo-young) responds. From that moment, the two embark on an unusual journey together. As they wander without a fixed destination, their travels gradually become a ritual of healing, in which two people carrying very different scars reveal their deepest wounds and learn to care for one another. The film suggests that genuine solidarity, even between strangers, can become a profound source of comfort.
The seventh feature film by director Shin Su-won, the work once again reflects the filmmaker’s enduring interest in exposing the structural violence and contradictions embedded within society. What begins in the confined space of a subway train gradually expands into parks, coastlines, and open landscapes, mirroring the emotional journey of its protagonists.
Warm and deeply moving, the film follows two marginalized individuals as they connect with others and, in the process, discover unexpected points of emotional understanding. Through their encounters, it reveals how empathy and human connection can create spaces of belonging in a world that too often excludes those who are different.
- Seongeun Yoon
Director’s Bio
1967년 출생. 서울대 독어교육과를 졸업하고 중·고등학교에서 교편을 잡다 그만둔 뒤 한국예술종합학교 영상원에서 시나리오와 연출을 공부했다. 2010년 <레인보우>로 장편 데뷔한 후 베를린국제영화제 수정곰상 특별언급을 받은 <명왕성> (2013), 칸국제영화제 주목할만한시선 초청작인 <마돈나>(2015), 부산국제영화제 개막작인 <유리정원>(2017), <오마주>(2022) 등을 연출했다. <사랑의탄생>은 일곱번째 장편극영화 연출작이다.
SHIN Su-won was born in 1967. After graduating from the Department of German Language Education at Seoul National University, she worked as a middle and high school teacher before quitting to study screenwriting and directing at the School of Film, TV & Multimedia at the Korea National University of Arts. Since her feature debut with Passerby #3 in 2010, she has directed seven feature films, including Madonna (2015), which was invited to the Un Certain Regard section of the Cannes Film Festival, Glass Garden (2017), and Hommage (2022).
SHIN Su-won was born in 1967. After graduating from the Department of German Language Education at Seoul National University, she worked as a middle and high school teacher before quitting to study screenwriting and directing at the School of Film, TV & Multimedia at the Korea National University of Arts. Since her feature debut with Passerby #3 in 2010, she has directed seven feature films, including Madonna (2015), which was invited to the Un Certain Regard section of the Cannes Film Festival, Glass Garden (2017), and Hommage (2022).
Stills
