Kang Ha-neul flies in the screen, or rather, in the streaming platform. Kang Ha-neul's "acting dedication" captivates the audience.
The movie "Streaming" (directed and written by Jo Jang-ho, distributed by Lotte Entertainment, produced by Very Good Studio, co-produced by TH Story) is a thriller that broadcasts in real time the process in which the number one crime channel streamer, "Woo-sang," discovers clues to an unresolved serial murder case and tracks the culprit.
"Streaming" is familiar and interesting, but it deals with a subject that could easily become cliché. The exploration and criticism of the deeply embedded online culture and personal broadcasting have been endlessly addressed both domestically and internationally since the development of online video platforms. Nevertheless, the key factor that keeps viewers from taking their eyes off this film is none other than the power of lead actor Kang Ha-neul.
Kang Ha-neul, who perfectly transforms into the crime channel streamer "Woo-sang," who occupies the number one spot on the streaming platform "WhyGo," where only the top streamer monopolizes all donations, skillfully embodies the character's sharpness and carelessness, while vividly capturing the "realness" that balances the live broadcast and cinematic atmosphere.
Especially since the work adheres to the "one-take" filming style, it is difficult to show both the character's actions and delicate emotions simultaneously, which inevitably creates some tension in the flow. However, Kang Ha-neul demonstrates a terrifying ability to fill this gap with his "acting acrobatics." Seamlessly immersed in the high-tension character "Woo-sang," Kang Ha-neul completes the character, who appears unlikable, but strangely endearing.
With a unique structure in which the entire movie is conducted as a live broadcast, there are also advertisements, lively chat rooms, and donations that pop up like jackpots during the tracking live broadcast. While it may have been difficult to capture the exact appearance of a 100% real-life live broadcast platform, it boasts a relatively high level of authenticity compared to live broadcast scenes previously presented in Korean cinema.
Moreover, while it does carry a rating of non-admittance for minors, it boasts relatively milder levels of cruelty, sensationalism, and profanity compared to the far more brutal 19-and-over crime thrillers featured in actual solo broadcasts.
The short runtime, which does not forcefully stretch the time, contributes greatly to maintaining tension as the story moves toward a clean conclusion. While there are ample implications for criticism of media, it remains faithful to the fundamentals of an entertaining movie and is expected to provide sufficient viewer satisfaction.
Opens March 21, rated 19+, 91 minutes
[Photo] Poster, stills
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