Lee Chang-dong on Cinema, Class and the Ethics of Representation

Eight years after Burning, Lee Chang-dong returns with Possible Love, a film that questions not only economic inequality, but also the moral responsibility of those who choose to tell other people's stories.

By KFRAMED · · 6 min read · Directors, Interviews, Movies

For nearly three decades, Lee Chang-dong has established himself as one of contemporary cinema's most thoughtful filmmakers. From Peppermint Candy and Oasis to Poetry and Burning, his work has consistently explored the emotional consequences of political and social upheaval.

With Possible Love, his first feature film since Burning (2018), Lee once again examines class inequality in South Korea. Yet unlike many films inspired by labour struggles, his latest work is less concerned with documenting a historical event than questioning the very act of documenting it.

Poster

Beyond the Headlines

The origins of Possible Love can be traced back to the aftermath of the 2009 SsangYong Motor strike, one of the most significant labour disputes in modern South Korean history. Thousands of workers lost their jobs following corporate restructuring, while the violent end of the 77-day occupation left lasting scars on countless families.

Rather than recreating the strike itself, Lee deliberately shifts his attention to what happens after the cameras leave. His characters are ordinary people attempting to rebuild their lives years later, carrying invisible emotional wounds that no television report could fully capture.

"The Camera Always Carries Power"

Perhaps the most compelling aspect of Lee's recent interviews is not his discussion of labour politics, but his reflection on filmmaking itself.

One of the central characters in Possible Love is a documentary filmmaker who follows former factory workers in the hope of telling their story. Through this relationship, Lee explores a difficult question: Can a filmmaker truly represent another person's suffering without transforming it?

For Lee, the answer is never simple. A camera does not merely observe reality—it inevitably changes it. Every filmmaker arrives with personal intentions, expectations and biases, making complete objectivity impossible.

Rather than pretending otherwise, Lee believes cinema should openly acknowledge this imbalance of power.

"The camera always carries power." — Lee Chang-dong

Jeon Do-yeon & Sul Kyung-gu

A Film About Desire as Much as Inequality

Although labour politics provide the backdrop, Possible Love is ultimately driven by relationships.

The story follows two married couples from opposite ends of Korean society. One struggles with unemployment after the factory closures, while the other enjoys financial security. Their lives become intertwined through the making of a documentary, exposing hidden resentments, emotional dependencies and the subtle ways in which class shapes everyday life.

Instead of reducing its characters to symbols of wealth or poverty, the film examines how economic inequality quietly influences love, marriage and personal identity.

Official Trailer – Possible Love

Returning After Eight Years

The release of Possible Love also marks Lee Chang-dong's long-awaited return to feature filmmaking.

Following the international success of Burning, the director spent years refining the screenplay before production finally moved forward. According to Lee, the project existed in various forms for more than a decade before finding its final shape. Netflix later joined the production while granting him full creative autonomy, allowing the film to premiere in competition at the Venice International Film Festival.

The film went on to win the Grand Jury Prize (Silver Lion) and the FIPRESCI Prize in Venice before being selected as South Korea's official submission for the 99th Academy Awards in the Best International Feature category.

Lee Chang-dong Venice 2026

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