Movie Review: ‘Possible Love’

by | Nov 5, 2026 | Movie Reviews, Movies | 0 comments


Greetings again from the darkness. With his first feature film in eight years, award-winning filmmaker (and novelist) Lee Chang-Dong and co-writer Jungmi Oh have delivered an excellent character study that is South Korea’s official submission for the Best International Film Oscar. If the rom-com sounding title doesn’t deter some viewers, it’s likely the complexity, along with a runtime pushing three hours, may keep some folks away … which would be a shame since so many human emotions and traits are on display.

Mi-ok (Jeon Do-yeon) is an upbeat and supportive wife to her husband Ho-seok (Sui Kyung-gu). It’s been two years since he was injured in a high-profile union dispute, and he’s been in a withdrawn funk ever since – rarely speaking or smiling. At the funeral of a family member, they cross paths with another couple, Ye-ji (Cho Yeo-jeong, PARASITE) and Sang-woo (Zo In-sung). Ye-ji is directing a documentary about the effects of that union dispute and ‘the disappearing laborers’, and Sang-woo is a businessman born into wealth and a certain lifestyle. The women establish a friendship that may or may not be based on Mi-ok’s ability to assist with the documentary. See, Ye-ji’s goal is to get Ho-seok to break his silence and talk about the union strike.

It’s painful to see someone shut down emotionally, especially when they realize it. Ho-seok understands that he needs the counseling sessions offered, but he simply can’t bring himself to face his previous co-workers (for reasons later revealed). In a strange twist, the two couples end up vacationing together at Sang-woo’s beachside family mansion. This further emphasizes the difference in class between the two couples (as if the wardrobe and Porsche) weren’t enough. It’s still a character study, but now it’s clearly a multi-faceted character study: one group, two couples, four individuals.

Lee Chang-Dong’s film isn’t so dependent on the story as it is establishing the many differences and motivations of the individual characters. It’s more about class differences and marital connections than the fallout from labor issues. The four actors are each outstanding, especially Sui Kyung-gu. When his strong façade breaks, everything shifts. Cinematographer Kim Ji-yong deserves a shoutout here with his work on diverse settings and by assisting with the individuality on display. The film plays much like reading a novel, though it was clearly inspired by Krzysztof Kieslowski’s 1989 mini-series, “Dekalog”. This film is well worth the investment and effort.

Premieres on Netflix on November 6, 2026

David Ferguson
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