Tan discovers that his wife and childhood friend, Lai have fled the village together. Betrayed and heartbroken he is left with Lai's wistful daughter Sandy. The film explores the complex relationships between all four of these characters and the massive change that has taken place in the thirty year time period.
The screenplay is fascinating, and although slow, you get a sense of the tragic epic tale that is unfolding. Although the film has a powerful sense of place and tone, it is unfortunately let down by the meandering pacing. This is odd given the films jumping between times. The voice-over exposition that works as the voices of regret and remembering are delivered monotonously by almost every protagonist. However, the device works to frame the different timelines.
The dour delivery of the narration is forgiveable, but the general acting leaves a lot to be desired. Almost every character, although filled with pain and anger come off as wooden and uncaring. Some line delivery is given almost no effort by secondary characters and the film loses its momentum due to this. Tan and Lai's arguments are also barely believable. However, there are some wonderful moments between Tan and Sandy and some genuine tenderness portrayed in Tan and Lai's homosexual relationship. These are mostly delivered in frank and desperate sex scenes that work in the films favour, they are not explicit but they capture the complexity of the situation and Tan's confused state.
One simple yet powerful scene sees Tan embrace Sandy on the beach, he turns, smokes a cigarette and comes back to her, only, it is suddenly Lai he is passionately kissing. There are, however way too many sex scenes, underlying the point time and again to no real effect.
Despite these moments, the film then returns to a lethargic narrated scene soon after. The one note piano again, reflecting the despair, is overused in almost every key scene. The sound design is otherwise excellent, the natural sounds not only emphasizing the isolation but the awkward and pained silence between each character.
The cinematography is often very striking, using classical framing against the seaside and the forests, it lustfully and breezily focuses on the doomed relationships, juxtaposing the tenderness and anger.
Second Life of Thieves has a great premise and is produced competently, but the screenplay Is impacted by the dour repetition and poor delivery of lines. However, as a study of melancholic love it is certainly worth pondering.
Second Life of Thieves has its world premiere at the Busan International Film Festival on the 3rd of October.