‘Smugglers’ Review: Sisters Are Doin’ It For Themselves in Swinging 70s South Korean Heist | SXSW 2024

“How far must a man go to ‘earn’ a living,” asks an elderly fishing boat owner early in Smugglers, the terrifically entertaining, ‘70s-set Korean heist film from Ryoo Seung-wan. It’s a question that many people have asked in recent years as well, as high inflation and stagnant, sub-par wages have wracked the working classes. In the context of the film, though, the unspoken follow-up to that question is that however far a man must go, a woman must go farther. Smugglers flips the script on most heist films by centering on a group of women who must use their wit and wiles not just to pull off a complicated plan but to save themselves from a lifetime of poverty and indentured servitude to violent, untrustworthy men. 

In mid-70s South Korea, smuggling imported goods was big business. In the small seaside village of Kunchon, new factories have begun polluting the waters where fisherwomen have long collected shellfish and other treasures from the sea floor while free diving. Needing a way to earn a living now that their fish can’t be sold, the boat owner agrees to have the women dive for crates of smuggled goods instead. When customs agents catch them in the act, diver Choon-ja (Kim Hye-su) barely manages to escape while the rest of the women serve a prison sentence. Three years later, Choon-ja finds herself on the wrong side of one of the biggest smugglers in Seoul. The only way to save herself is to return to Kunchon and face the wrath of former best friend Jin-sook (Yum Jung-ah) and the rest of the divers, who believe she set them up.

Seung-wan effectively captures the ‘70s setting with groovy music, loud fashion, and cinematic style. An early montage of the quick success that follows the divers when they start smuggling makes extensive use of split screens that add to the vibe. The film never feels like a lost artifact of the period, but it immerses the viewer in the setting, allowing you to connect with the characters on a deeper level. Even when the plotting gets complicated, the film’s emphasis always remains on character and how these women see each other and the world around them. This emphasis further elevates Smugglers above your average heist flick, tying everything back to character and relationships instead of narrative pyrotechnics. The film’s screenplay still includes plenty of narrative twists and turns, though, toying with audience expectations by adjusting its approach slightly with each reveal to keep the excitement level high.

And what excitement! The many diving scenes add several layers of suspense to the heist narrative, with the dangers of sharks and sea urchins and the inability to make noise. Despite the natural slow-motion that occurs underwater, these scenes are still thrilling. When Seung-wan unleashes a hard-hitting action set piece on land, the result is even better: A dizzying spectacle of flailing limbs, flying knives, and flipping furniture. Smugglers isn’t an action film, but these setpieces are so successful that it can feel like one at times. As serious as the film’s themes may be, entertainment is clearly its guiding principle, with every scene precisely calibrated to deliver maximum cinematic pleasure. Even the quietest moments feature striking cinematography or music cues that add texture to the film.

With the screenplay’s strong emphasis on character, the performers must be at the top of their collective game. Thankfully, every member of the ensemble adds depth to their character while embracing the larger-than-life performance style of ‘70s B-movies. It can be difficult to walk the line of paying homage to a performance style while also giving a performance that stands on its own, but everyone does so with ease. Hye-soo is always compelling to watch as Choon-ja plots for her survival. Jung-ah displays fierce determination as the most direct of the women. Go Min-si is electric as an ambitious tea parlor owner who forms an alliance with Choon-ja as struggling businesswomen. On the male side, Zo In-sung drips with subtly menacing, charismatic evil as big-time smuggler Kwon, with Park Jeong-min’s over-the-top energy as the women’s smuggling ringleader serving as a perfect foil.

Even though the film does feel a little long at just over two hours, Seung-wan keeps things moving by maintaining a high level of tension throughout. The film’s last act may throw a few too many twists and narrative layers into the mix, but he executes them with high style and supreme confidence. It’s a testament to the screenplay, which Seung-wan co-wrote with Cha-won Choi and Kim Jung Youn, that these women never feel like one-dimensional types but like real women with rich inner lives. Even the smallest role has an important part to play in the narrative, and we spend a lot of time getting to know these women. When they finally get the chance to pull one over on the men who have controlled their fates, it’s a rousing moment of female solidarity. Smugglers is as entertaining as they come, further proof that Bong Joon-ho was right: If you can get over the one-inch barrier of subtitles, you will find so much to love here.

Grade: A-

This review is from the 2024 SXSW Film Festival.

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Daniel Bayer

Daniel Bayer has been in love with movies all his life, in love with the theater since he could sit still, and in love with tap dance since seeing Singin' in the Rain at nine years old. A nationally-ranked dancer in his teens, his theater credits are many and varied, both behind and on the stage. He now spends his days as a non-profit database manager and the rest of his time seeing, writing about, and talking about movies and theater. He is a proud member of GALECA: The Society of LGBTQ Entertainment Critics. You can find him on the AwardsWatch and Next Best Picture podcasts, and on Twitter @dancindanonfilm.

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