Written and directed by July Jung, “Dora” reveals the healing and harming power of human connection in an adaptation of Sigmund Freud’s 1900 case study on hysteria. When a Seoul family retreats to the rural South Korean seaside, their ailing daughter, Dora (Doyeon Kim), becomes infatuated with Nami (Sakura Ando) and Yeon-su (Saebyeok Song), the husband and wife hosting them. In her third feature, Jung explores the dark side of desire and the sacrifices people must take to fully become themselves.
Freud’s 1900 case study of the same name analyzed a patient whom he pseudonymized Dora and diagnosed with hysteria. Like the film’s protagonist, Dora was the daughter of parents in a loveless marriage who became precariously entangled in the relationship of the couple her family stayed with. She was brought to Freud by her father, who did not believe her after she accused the husband of making an advance on her.
Jung’s “Dora” follows the same story, but places it in modern day South Korea, using the lush forest landscapes of the countryside and the vastness of the beaches to emulate the escape and eventual entrapment that Dora — and those around her — feel. Edited by Miyeon Han, the film’s tension is emphasized through scenes of intense storms tearing through dense forests and harsh waves crashing in a dark ocean. In other parts of the film, Dora’s delicate nature is mirrored by a single leaf falling onto the same ocean’s surface, contrasting the more violent changes occurring on her frail body. These visuals add a layer of immersion to the film’s exploration of life, presenting nature as a metaphor for a free and wild way of living.
The rural Korean setting also masterfully sets up the complications surrounding Dora’s healing process. Instead of aphonia — loss of voice — like Freud’s original patient, Dora is afflicted with red boils and rashes all over her skin. At first, it seems like fresh air and nature is the best way to cure her. However, it is not nature, but relationships that propel her healing.
A central element of the film is Dora’s budding romantic relationship with Nami. Their relationship demonstrates the power of love — of having something to live for — while simultaneously warning against the dangers of unrealized desire. Kim and Ando brilliantly play off one another as Dora and Nami; Dora’s innocence and hope form a heartbreaking contrast to Nami’s suppressed longing and self-hatred.
As Nami’s husband Yeon-su, Song also delivers a stellar — albeit more sinister — performance. Initially appearing as a pathetic and worn-down artist, he garners sympathy from the audience. But as the film continues, his pain no longer feels innocent, and the advances he makes on the young Dora feel rotten and uncomfortable to watch. As he lies and manipulates his way out of accountability, Song successfully turns Yeon-su into a disturbing villain.
“Dora” attempts to reframe the way audiences consider young desire and power dynamics by shifting the perspective of Freud’s original case study. Aided by Kim’s touching performance, Jung emphasizes Dora’s innocence within her own sickness, contrasting historical perceptions of women’s illnesses as often-dismissed weaknesses of the mind. By presenting the action through Dora’s eyes, Jung gives a voice to women whose stories have gone unheard or unbelieved throughout history.
Through the forbidden romance between Dora and Nami, Jung also offers a sharp commentary on the limitations placed on homosexual relationships in Korea as well as the xenophobia present in rural communities. Nami’s self-restrictive denial of Dora is inspired partially by the discrimination she faces as a Japanese woman living in Korea. Ultimately, it is clear that Jung considers all the forces that trap the women of “Dora” within lives of unhappiness and unrealized desire, pushing them to extreme actions.
Jung’s reimagining of Freud’s study takes audiences on an emotional rollercoaster through the film’s dynamic and deeply complicated characters, remarkable visuals, and powerful underlying message. Bridging the past and present, “Dora” is certainly one of the great successes out of this year’s Cannes.
—Staff writer Dzifa A. Ackuayi can be reached at [email protected].