Notable Cast: Kim Hyun-joo, Bae Hyeon-seong
So-young is a grieving mother who lost her son in a bus kidnapping accident some 9 years ago. She spends her days with an AI-generated version of her missing son through a company that created high-tech glasses that let parents reconnect with their children from the tragedy through projections in the lenses. So-young has spent years with her son this way and finds herself feeling good.
One day, however, a young man appears at a local police station, and as fate would have it, it is her missing son, now fully grown. With her world suddenly coming to a stop yet again, she is torn between the bond she feels with her young son who never grew up, waiting for her every day in the digital world, and the real son, cold and mysterious, who has walked back into her life. Yes, a lot more happens, but this is the core idea that drives the story and themes along for a thrilling, emotionally charged ride. With both Colony and now Paradise Lost, 2026 is looking to be the year of Yeon Sang-ho, and I'm all here for it!
I'm not a fan of spoilers, and I struggle with alluding to certain things in written reviews, both as a writer and a reader, so I always try to tread lightly. Like any good thriller, Paradise Lost has plenty of twists and turns, and at times I found myself rubbing my hands together in satisfaction as the story beats unfolded. There isn't a ton of action, but the few bursts of confrontation definitely add to the impact of the events onscreen. Yeon knows how to craft set pieces and extravagant action, but he chooses to deliberately strip that back, and it is all the better for it here, with the story and the intimacy of it stemming from just a few key players involved.
The story is extremely tight-knit, and every choice in the narrative feels purposeful to the plot, with everything revealed with masterful precision. The film also touches on AI and its uses and misuses, how it can affect us or potentially damage us emotionally, and it never fully answers how we move forward using it. I think it takes a firm stance on living in reality, but it never felt preachy, and the topic never felt like a gimmick. There was a surprising amount of nuance in how the film handles the subject matter, and I like that it lets you feel a multitude of things instead of being so adamantly in one camp or the other. I never once felt like the film was trying to insult my intelligence, and that deserves applause.
Kim Hyun-joo carries Paradise Lost on her shoulders. Again, the subject matter is very intense, and she showcases a natural array of emotions and the complex psychology of a mother who has lost a child. This hit a little close to home for me, as we lost a beautiful child in my extended family this year, and Kim's whole demeanor and the feeling that her entire world has been shattered struck such a chord in me. The desperation in her eyes, wanting to give up- it all just felt so haunting and very true to life. I don't want to dwell on something so heavy, or gloss over it too quickly, but Kim's performance really left a strong impression on me, and I think she deserves a lot of praise for her acting here.
Bae Hyeon-seong also nails it as the grown-up version of Sun-woo. Sure, his character is mostly bound to the trappings and conventions of the thriller genre the film builds towards, but I found him completely convincing as someone who has been to hell and back, and he is completely snapped at the end of this path he was put on. It is dark and very nihilistic, but it makes for some damn fine drama and, again, a thrilling journey. He sent a chill down my spine more than once, and I thought the way he and Kim bounced off one another was impressive to witness.
Going back to the AI thing, I loved the fact that the mother desperately bought into the false emotions of her son, who clearly isn't her son. Older people seem to be more easily exploited by these companies, and you see it all the time on social media, to varying degrees. Simple posts, such as a meme or a funny video, those heavily AI altered and generated images of old people saying 'Happy Monday' or a squirrel thanking God it is Friday, and even a small trend, where still portraits would move their face and smile, or speak, especially those who have been gone for years now, I've seen the amount of people that this technology seeps into their daily lives, and for better or for worse (absolutely mostly worse) I think the mom finding comfort in this isn't too far removed from a possible "reality" to her. She knows it isn't him, but that almost-ness is what draws her in. That somewhat familiar voice, that nearly perfect recreation of a lovable face. It is actually quite scary how fast it is all moving along (the tech itself), and while I think Paradise Lost isn't delving too deeply into its themes, I think the fact that it is just present throughout and people are using it without a second thought, sort of is the purpose of it all. It is there, and it can consume. I think it raises more questions than it answers, but I was okay with this.
The ending got a little absurd, but again, I really enjoyed my time with this film. The cinematography is nice to look at, and the music by Chae Min-ju, who also previously collaborated with Yeon on both Colony and The Ugly, does a fantastic job here. I normally don't pay much mind to the score, oddly enough, but I noticed the feeling the music gave me here, and I perked up a few times and found myself being lost in the sound of it. Beautiful stuff by her team.
All in all, Paradise Lost is a solid thriller that I strongly recommend. I don't think all the pieces will work for everybody, but everything fell into place for me, and I found myself riveted from the first frame until the credits rolled. And to quote Guillermo del Toro, "F*** AI!"
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