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A portrait of a young girl coming to terms with loss and abandonment, Six-year-old Jin and her younger sister Bin live on the edge of disaster, but they are not aware of it. In the small apartment where they reside with their single mother, the menacing sounds of the outer world disturb their precarious cocoon. One day, their mother packs all their belongings. For Jin, the days of going to school are over. Mommy is gone, leaving her and Bin in a hostile home with their alcoholic Big Aunt and a piggy bank to slowly fill with coins. Once the bank is full, their mother will be back.
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It’s a tricky business when smart, articulate filmmakers examine inarticulate lives. How much do you show and how much do you tell? When do you push your characters to where you want them to go and when do you let them get there on their own? Directors in the school of what a recent New York Times article called “neo-neo realism’’ include Kelly Reichardt (“Wendy and Lucy’’), Ramin Bahrani (“Goodbye Solo’’), Ryan Fleck and Anna Boden (“Sugar’’), and So Yong Kim (“In Between Days’’), and each wrestles with the balance between less and more - between observation and intervention. Neo-neo realism, like all approaches to art, is a pose, but it only works when you don’t notice the artist. (Full review)