Here are my thoughts on “Line” by Yoon Hye-ju, screened during the Bucheon International Fantastic Film Festival (BIFAN), which took place from July 2 – 12, 2026, in Bucheon, South Korea.

Line by Yoon Hye-ju – South Korea | 2025 – 28 minutes | World Premiere
Section: Fantastic Shorts 1

In a small rice-farming village, mysterious red synthetic ribbons begin to appear. They are everywhere: in the rice fields, on buildings, on utility poles, and more. This strange phenomenon has the entire village worried. But not Hyung, our main character. He watches the others collect the ribbons while smoking a cigarette. Nor does he seem bothered when the villagers confront him about his indifference.

Soon, Park, the village chief, arrives and decides that they must catch whoever has been placing the ribbons all over the village. Hyung, an obese man, and Park set off in a pickup truck toward the home of the man suspected of being responsible. Throughout the journey, the obese man never stops talking and teasing Hyung, but Hyung responds with calmness and a certain sense of detachment. They are soon interrupted by several red lines blocking their way. After cutting an opening with a pair of pruning shears, Park walks into the yard of a house, where he confronts the mysterious man who came from Seoul.

The arguments quickly escalate, and the tension between the characters becomes palpable. Suddenly, a young woman interrupts with food and drinks in an attempt to calm the situation. Before long, however, everything begins to boil over once again, and the confrontations resume.

Although the meaning of red ribbons or cords varies across Asian cultures, they generally symbolize some form of connection—either between people or between the earthly world and the realm of the gods or the afterlife. One well-known example in the Western world is the belief in the “red thread of fate,” according to which two people are destined to become spouses, connected by an invisible red thread tied around their ankles.

It is interesting how the director uses the red lines as a device to bring the villagers together while also using them to provoke conflict among them. Another recurring element throughout the short film is the clear divide between those who have remained in the village and those who left for Seoul to seek better opportunities. Interestingly, while the values of the “outsiders” are criticized, we ultimately witness the pettiness of the villagers themselves. As we say in Argentina, “small town, big hell.”

From a technical standpoint, the film appears to have been shot with a handheld camera in what resembles a single continuous take, although there are noticeable cuts that are very well executed. The camera also makes quick movements whenever the tension between the characters rises, recalling the camerawork of Hong Sang-soo, though here the zooms are faster and more pronounced. The performances are excellent, and while the film is primarily driven by the drama of its confrontations, it also incorporates moments of comedy.

Overall, this is a very interesting short film that begins with a fantastical premise but ultimately speaks about human relationships.

Trailer: