Call is a South Korean fantasy thriller-horror film released by Netflix. This Lee Chung-hyun directed film stars Park Shin-hye, Jeon Jong-seo, and Kim Sung-ryung. Once again, South Korean filmmakers prove their ability to adapt old story concepts and turn them into something fresher, more intense, and gloomy.

Seo-yeon comes home to visit her sick mother and returns to her childhood home. Mysteriously, Seo-yeon is called by a girl who claims to live at her home address. Seo-yeon finally realized that the girl who called him, Young-sook, was someone in the past who had lived in his house. They play with fate and Seo-yeon doesn’t realize that changing the past will have consequences.

It’s a bit difficult to explain the plot without spoilers. The best way is to watch this film.

For film lovers who have watched Frequency (2000), this film’s plot feels very familiar. In this film, the father, via radio amateurs, can communicate with his future son due to a natural anomaly. They also try to change the past, which has an impact spontaneously into the future. The plot is very similar to Call in the first act, not until the story changes completely in the second act.

Unlike Frequency, Call takes a deeper, darker plot route. The game turns fate into a game of life and death, which is so tense that it presents “playing cat and mouse” between the past and the future. The script is brilliant. The action and reaction were intense and solid. The game of time makes a side of mystery, suspense, and surprise; it is very difficult to predict the story’s direction. The future is uncertain. Anything can happen, and the more the plot goes, the higher the tempo of the tension.

The tense side of the story is also balanced with its very established technical side. The interior settings of the house that always change from moment to moment are shown convincingly. Editing, clearly the main key of this film, is consistently able to insert or hide information from the audience to maintain tension and surprise the audience. The biggest strength is evident in the two main characters, especially Jeon Jong-seo, who plays brutally as Young-sook, the psychopath.

Call is no longer original, but this film is boldly and surprisingly able to explore it brilliantly by taking a darker path. In contrast to Frequency, one small thing that is stuck is only the motive behind the telephone connection’s anomaly. Korean films are again able to outperform their toughest western competitors with a different twist. Call is not the last. We are still waiting for what surprises we will get from South Korean films in the future.

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