Review — The Green Chair (2005)

Kim Mun-hee

The film begins as (played by Suh Jung ), a divorced woman, is released from prison after being convicted of seducing a minor—specifically Seo-hyun ( Shim Ji-ho ), who was legally underage at the time of their encounter.

Content:

Content Warnings

Sundance Film Festival

Green Chair received significant attention on the international festival circuit, including screenings at the and the Berlin International Film Festival in 2005. Critics noted the film's departure from traditional romantic tropes, praising its focus on the complexities of human emotion and the social consequences of non-conformity. The performances were lauded for portraying a sense of desperation and resilience.

Tonally, the film balances intimacy and social critique. It can be unbearably slow, but that slowness is purposeful: it makes each humiliation, each small kindness, register with real consequence. The score is spare; sound design often amplifies silence, letting ordinary noises—traffic, distant conversation—remind viewers of the world that watches and judges.

Unlike many erotic dramas that focus solely on the physical, Green Chair uses its explicit content to explore deeper psychological and social terrain:

4. The Third Act: A Shift in Tone

The film's use of cinematography and mise-en-scène emphasizes Jaehwan's feelings of isolation and disconnection. The green chair of the title, which Jaehwan obsessively thinks about, serves as a symbol of his longing for connection and intimacy. The chair, which is old and worn, represents a nostalgic and idealized vision of adulthood that Jaehwan cannot quite attain.