Occult thriller ‘Exhuma’ explores Korea’s traumatic past
At first glance, the new film “Exhuma” might seem like a typical occult thriller centered on grave exhumation. However, upon closer examination, director Jang Jae-hyun reveals that the film holds a deeper layer of symbolism, serving as a metaphorical excavation, delving into the historical wounds inflicted by Japanese imperialism on the Korean Peninsula.
The film, which hit theaters on Feb. 22, follows young shamans Hwa-rim (Kim Go-eun) and Bonggil (Lee Do-hyun) who embark on a case to unravel the enigmatic events surrounding a wealthy Korean family residing in Los Angeles. Upon discovering that the family’s troubles stem from their ancestor’s grave site, Hwa-rim and Bong-gil propose exhuming it. They enlist the expertise of veteran geomancer Sangdeok (Choi Min-shik) and undertaker Yeong-geun (Yoo Hae-jin) to assist with this potentially lucrative endeavor.
But when they start digging up the grave, they realize they are faced with something much darker and ominous than they had anticipated.
The term “pamyo,” which is the film’s Korean title, denotes the act of exhumation for relocation or cremation. This practice is steeped in tradition and is believed to rectify misfortune thought to be caused by improperly situated ancestral graves according to feng shui principles.
Jang, whose filmography includes other occult-themed films such as “The Priests” and “Svaha: The Sixth Finger,” has witnessed “Exhuma” swiftly ascend to the top of the box office charts. Surpassing the 1 million mark within just three days of its release, the film has garnered over 2.29 million viewers as of Monday.
The inspiration for “Exhuma” struck Jang unexpectedly after witnessing a grave exhumation by chance.
To make the film, Jang pursued a path of extensive research, personally observing more than 15 exhumations and seeking insights from feng shui masters, morticians and shamans. Through this immersive process, he conceived the idea of intertwining the narrative with Korea’s colonial history, thus proposing a thematic exhumation of the nation’s collective trauma.
“One day, an undertaker [I was consulting for the film] called me in the early morning and I followed him to an exhumation site in a hurry because an immediate family member of the dead had a stroke. Surprisingly, there was a leak in the drainage and the coffin had water inside. So they performed the cremation with a torch on the spot,” he said.
“That day, I could feel that the sentiment behind the ritual of ‘pay’ is about pulling out the past and removing it. If we consider our country’s land as a ‘person,’ it is a victim that has suffered many wounds. So, I thought we should ‘pamyo’ that.”
The film’s depth and message resonated with lead actor Choi, who was drawn to the project by Jang’s vision of addressing the land’s historical scars through the story.
“I’ve seen the director’s previous films, so I was curious how he creates a film. I met him after reading the script and his remark about how our land suffered trauma left a strong impression. That was the first time I’ve heard such an expression,” Choi said.
“I liked how (the story) is not just about paranormal entertainment, but had Jang’s own values, because as a director and for me as an actor, it’s all about what message we deliver to the audience.”
Choi said he was surprised by the director’s dedication to authenticity and meticulous direction.
“He always makes films on metaphysical themes, so I wanted to see up close how he will unravel this one. We’ve filmed at different places across the country, and he was very meticulous and detailed. I liked how determined he was to do things in his way,” the actor said.
“He has done a lot of research. Pre-production is the crucial groundwork and he was thorough in building that foundation. He was also very detailed in giving directions on the set so I had faith in him.”
As the characters delve into the exhumation of the grave, they make a startling discovery: another coffin buried beneath, unveiling a darker and more sinister narrative. This pivotal moment marks a shift in the film’s trajectory, leading to a dual narrative structure. Beyond the initial paranormal plot involving the wealthy family, the film unfolds into a new and broader storyline, amplifying its intrigue and suspense.
The director said he made a deliberate choice in crafting this narrative, aiming to address perceived shortcomings in his previous works.
“I heard ‘The Priests’ lacks a narrative, only focusing on the character. But ‘Svaha,’ on the other hand, leaned too heavily on the narrative, possibly overshadowing character depth. I feel that I’ve instinctively found the balance with ‘Exhuma,’” he said.
“My philosophy as a director is progressing. So I didn’t want to repeat something just because I’m good at it. I feel a ‘safe movie’ is the worst thing you can hear these days. So I just pushed through with it.”