택시운전사 [A Taxi Driver] (Jang Hoon, 2017)
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택시운전사 [A Taxi Driver] (Jang Hoon, 2017)

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Traditions in transition: cinematic perspectives on the modernization of post-war societies (4/4)
Before concluding this four-part series, I want to examine how Lee Chang-dong’s "Peppermint Candy" (1999) portrays post-war South Korea’s transition from a military dictatorship to democracy. The film not only encapsulates the essence of societal transformation but also serves as a poignant reminder of history's lasting impact on individual lives.
As usual, you can find my previous articles HERE.
Part 3. Peppermint Candy (박하사탕, Lee Chang-dong, 1999)
Peppermint Candy's Trailer
Directed by Lee Chang-dong, an influential auteur of Korea’s New Wave of cinema, Peppermint Candy (1999) reflects on South Korea’s turbulent journey to democratization and modernity in the decades after the Korean War. Through its non-linear structure and powerful performances, Lee Chang-dong's film delves deep into themes of lost innocence, the impact of political and social change, and the haunting effects of guilt and regret. By revealing Yong-ho’s life in reverse, Lee Chang-dong juxtaposes personal memories with historical events, emphasizing the interplay between individual trauma and collective memory. In this way, he also effectively highlights how past experiences shape present identities.
The film begins with the suicide of the protagonist, Kim Yong-ho, who throws himself in front of an oncoming train. This haunting act serves as the catalyst for a reflective journey into the events that led to his untimely death. We see him in the 1990s as a broken middle-aged man, jobless due to the economic crisis and struggling with the consequences of his actions. His relationships deteriorate, including his failed marriage. Further back, he is depicted as a corrupt police officer and a disillusioned soldier witnessing the violent suppression of the “Gwangju Uprising”, also known as the “Gwangju Democratization Movement”. A tragic and pivotal incident in South Korean history that took place from May 18 to 27, 1980.
Peppermint Candy, Lee Chang-dong, 1999
Triggered by widespread discontent with the authoritarian regime of Chun Doo-Hwan, thousands of students and civilians in the city of Gwangju protested against martial law and demanded democratic reforms. The military’s brutal response led to the death of hundreds of protesters and left a deep scar on the national consciousness. To this day, the Gwangju uprising remains a significant historical event, reflecting the nation’s turbulent journey towards democratization and the enduring impact of state violence on collective memory.
Peppermint Candy, Lee Chang-dong, 1999
Peppermint Candy critiques political oppression and the abuse of power by depicting this military and police brutality. Its protagonist, Kim Yong-ho, is profoundly affected by the 1980 events. In a heart-wrenching scene, he accidently kills a high school girl during the chaos of the uprising, a moment that haunts him throughout the film. The title “Peppermint Candy” serves as a powerful symbol of innocence and nostalgia, contrasting sharply with Yong-ho’s despair. Initially, we see him as an idealistic young man with dreams and aspirations. However, as he becomes embroiled in the corrupt and violent system, his innocence is gradually stripped away, leaving him a hollow shell of his former self. Ultimately, Lee Chang-dong paints a harrowing portrait of a man haunted by his actions and struggling to reconcile the past with the present. Yong-ho’s identity crisis mirrors the broader societal identity crisis during South Korea’s transition.
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Pierre Cardin was not concerned with following fashion dictates regarding the proper length for a skirt or height of a waistline. Instead, he embraced the pluralization of fashion, creating a diverse array of fabrics and forms for many different occasions and bodies. His Cardine fabric (pictured here at left) could be stuffed into a suitcase and come out looking fresh. Jumpsuits created dynamic silhouettes while allowing for freedom of movement, and could be worn with equal panache by both men and women. Cardin’s vision of the future was a fashion for everyone.
Posted by Forrest Pelsue Pierre Cardin and Lauren Bacall with models on the set of Bacall and the Boys, 1968. (Photo: Yoshi Takata. Courtesy of Archives Pierre Cardin. © Archives Pierre Cardin)