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Bandhobi
 Min-suh is a lonely high schooler. Her single mother is busy dating younger men, and her friends are busy preparing for university. She takes care of herself through a part-time job that doesn’t cover the bills. Sick of her mother’s love affairs, she sometimes runs away from home. One day Min-suh encounters a migrant worker named Karim, and ends up stealing his wallet, despite knowing better. Karim catches her but agrees not to involve the police so long as Min-suh grants him a wish to help him collect his delayed paycheck, which he is unfairly being denied by his Korean employers. Min-suh agrees to help Karim. In the confusion of the moment, Min-suh has become Karim’s money collector. Avis du sélectionneur Slouching, dragging her feet and looking stunned, Min-suh is a funny heroine,
already tired before the film starts. She is so ordinary, that we would like to
shake her up. The strange oddness of the other heroe of the film, an immigrant
from Bangladesh and speaking perfect Korean, immediately makes us adhere
to their sticking point. How to make possible throughout the whole film, the
unlikely duo composed of a sulky knucklehead teenager, and a Bangladeshi
immigrant scammed by his boss? For Shin Dong-il, this means a variety of
registers: sort of buddy-movie, light and nonchalant Bandhobi is also a double
endearing portrait, as well as a social satire exercise on themes little visited
by Asian cinema: the confrontation with strangers. Shin Dong-il did not sign
an edifying indictment, the sad misfortune experienced by the hero, although
universal, is no excuse for a stodgy pledging. Instead, focusing first on his
characters and transformations that they undergo thanks to their unexpected
encounters, the filmmaker demonstrates a profound sensitivity, which continues
right up to the beautiful ending theme.
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