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Home»ENTERTAINMENT»A scathing satire about corporate culture — and the male ego : NPR
Lee Byung-hun stars in No Other Choice.
ENTERTAINMENT

A scathing satire about corporate culture — and the male ego : NPR

January 10, 2026No Comments3 Views
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Lee Byung-hun stars in No Other Choice.

Lee Byung-hun stars in No Different Alternative.

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NEON

In an outdated Children within the Corridor comedy sketch referred to as “Loopy Love,” two bros throatily proclaim their “love of all ladies” and declare their incredulity that anybody may probably take problem with it:

Bro 1: It’s in our very make-up; we can not change who we are!

Bro 2: No! To change would imply … (beat) … to make an effort.

I thought of that exact trade rather a lot, watching Park Chan-wook’s newest film, a niftily nasty piece of labor referred to as No Different Alternative. The movie is not concerning the poisonous lecherousness of boy-men, the best way that KITH sketch is. However it is very a lot about males, and that final bit: the aggravated astonishment of studying that you simply’re anticipated to alter one thing about your self that you simply think about important, and the acute lengths you may go to keep away from doing that onerous work.

Many critics have famous No Different Alternative‘s satirical, up-the-minute universality, provided that it entails a faceless firm screwing over a hardworking, loyal worker. Because the movie opens, Man-su (Lee Byung-hun) has been working at a paper manufacturing unit for 25 years; he is obtained the proper job, the proper home, the proper household — you see the place that is going, proper? (In the event you do not, even after the top of the primary scene, when Man-su calls his household over for a bunch hug whereas sighing, “I’ve obtained all of it,” then I envy your blithe disinterest in how motion pictures work. By no means change, you lovely blissful Pollyanna, you.)

So sure, No Different Alternative is a scathing spoof of company tradition. However the director’s true satirical eye is skilled on the interpersonal — particularly the intractability of the male ego.

The director’s true satirical eye is skilled on the interpersonal — particularly the intractability of the male ego.


Many times, the ladies within the movie (each Son Ye-jin as Miri and the hilarious Yeom Hye-ran, who performs the spouse of one in all Man-su’s potential victims) entreat their husbands to consider doing one thing, anything with their lives. However these males have come to equate their years of service with a pot-committed core id as males and breadwinners; they cling to their outdated lives and search solely to claw their means again into them. Man-su, for instance, unthinkingly channels the vitality that he may commit to non-public {and professional} progress into planning and executing a collection of ludicrously sloppy murders.

It is all satisfyingly pulpy stuff, loaded with showy, cinematic homages to old-school suspense cinematography and enhancing — cross-fades, reverse-angles and leap cuts which might be intentionally and unapologetically Hitchcockian. That deliberateness seems to be reassuring and crowd-pleasing; in case you’re uninterested in tidy visible austerity, of movies that appear to be TV, the lushness on show right here could have you leaning again in your seat considering, “This proper right here is cinema, goddammit.”

Narratively, the movie is loaded with winking jokes and callbacks that reward repeat viewing. Depend the variety of instances that numerous characters try and dodge private duty by sprinkling the film’s title into their dialogue. Surprise why one character invokes the peculiar picture of a madwoman screaming within the woods after which, only some scenes later, finds herself chasing somebody via the woods, screaming. Marvel at Man-su’s household residence, a superbly ugly mix of conventional French-style structure with lumpy Brutalist touches like uncovered concrete balconies jutting out from each wall.

Murder is lost in translation in 'Decision to Leave'

There’s rather a lot that is charming about No Different Alternative, which could appear an odd factor to notice about such a blistering anti-capitalist screed. However the director is cautious to remind us in any respect turns the place the duty really lies; say what you’ll about systemic financial strain, the blood stays resolutely on Man-su’s fingers (and face, and shirt, and pants, and footwear). The movie repeatedly presents him the flexibility to choose out of the system, to desert his resolve that he should return to the life he as soon as knew, precisely as he knew it.

Man-su may do this, however he will not, as a result of to alter would imply to make an effort — and in the end males would reasonably embark upon a bloody homicide spree than go to remedy.

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