Introduction
Carter is an action thriller from South Korea that came out in 2022. Jung Byung-gil, who is recognized for his visually ambitious films, directed it. The movie is available for streaming on Netflix, and it drew interest for its “shot in one take” style which plays out in real time, capturing the viewer’s attention.
Carter attempts to weave in an array of elements like the post-apocalyptic setting, espionage, and relentless action. While some viewers appreciated the ambition, others were critically divided on the dizzying camerawork and relentless pace of the movie.
Synopsis
The film starts in the middle of a catastrophic outbreak. This virus, dubbed the “DMZ Virus,” causes extreme aggression and ultimately culminates in death to anyone who is infected. To make things worse for South Korea, the leader of North Korea is also infected. With both sides of the border desperate to find a solution, the tension continues to heighten.
In the middle of all of this, a man is waking up in a strange room with no recollection of who he is, or how he got there. Carter, played by Joo Won, learns that there is a voice in his head telling him to follow instructions. As he peels back the layers, he learns that the voice belongs to a woman who claims to be a CIA agent who is providing him with the guidance necessary to a complete a mission that is critical to the survival of millions. Whose life is in danger? Turns out, the voice claims that there are millions of lives vulnerable.
And it gets even more interesting. Carter learns that the key to stopping the virus is in a young girl named Ha-na, the daughter of Dr. Jung Byung-ho, a scientist believed to have a possible cure. The kicker? The girl is held captive in North Korea, and Carter is assigned the job of bringing the girl to her father. The twist? The South Korean intelligence, the CIA, as well as the North Korean military all have their separate motives and are after the same thing, leaving poor Carter sandwiched in between.
At that moment, the film shifts into a non-stop chase. Carter fights through gangs, soldiers, and the infected, utilizing every possible weapon and vehicle like motorcycles, cars, trains, and even helicopters, in a series of ever-increasing set pieces. As the film progresses, pieces of Carter’s memory start surfacing, suggesting that his connection to the crisis is deeper and more personal than he understands.
During the film’s climax, he tries to carry Ha-na to safety on a cargo plane which ultimately ends up in a further escalating airborne battle. The film concludes with Carter’s fate and the future of the world, left in static suspicion, deepening the existential conflict.
Cast & Crew
Joo won as Carter – showcasing a physically demanding performance as a man on the brink of instinct and survival, burdened with hidden loyalties in the title role.
Lee Sung-jae as Kim Jong-hyuk – a high-ranking North Korean official embroiled in the virus crisis.
Jeong So-ri as Ha-na – the young girl who possesses the key to the cure.
Kim Bo-min as a pivotal secondary who is linked to with Carter’s past.
Jung Byung-gil’s Carter Villainess is known for his kinetic style, seamlessly integrating Chung Chung-hoon’s camera work, which strives for an unbroken shot, to practical stunt work, heavily enhanced by visual effects, to give the illusion of continuous motion.
Film Analysis
While Carter is primarily an action film fueled by high-octane sequences, it integrated deeper underlying themes that give more meaning to the over-the-top spectacle:
Identity and memory — Carter’s loss of memory drives the key mystery, forcing him to untangle his loyalties and past decisions.
Survival amid chaos — The pandemic heightens the already chaotic world, making every decision one of life and death.
Political tension — This film serves both as a backdrop and a catalyst to the North Soviet- South Korean Divide.
The stylistic approach to this film features the “one take” approach. Carter is not shot in one continuous shot, but the editing and choreography is done so it appears that way. The camera is constantly moving, often sweeping, diving, and spinning, which grounds the audience in a character’s perspective but may be disorienting
Action Sequences
The action within the film Carter is intended to be as relentless as possible, often fusing several types of stunts into one sequence. Set pieces include:
Bathhouse Brawl: Carter engages in close-quarters combat with dozens of attackers, establishing the brutal tone of the film.
Motorcycle Pursuit: Hand-to-hand combat during the high-speed chase.
Train Combat: A blend of gunfire, hand-to-hand combat, and stunts on a moving train with the risk of passenger infection.
Helicopter Battle: A dizzying climax featuring mid-air hand-to-hand combat and camera spins.
The “continuous take” illusion has been preserved in each scene, though the illusion itself is broken with seamlessly placed transitions through whip pans, passing objects, or smoke and debris.
Reception
Carter as a film has been reviewed most favorably, but on the weak side of the spectrum review-wise. The film was praised for its very high ambitions, especially for action films since most rarely attempt to take the immersive approach. The dedication by Joo Won to the role was praised as was the set pieces for the sheer inventiveness.
Some critics believed that the intense camera motion and swift cutting could be disorienting, making it difficult to follow the action. Many believed it was too flashy, complimenting the style of the film but actually putting the narrative to the side. Other critics considered it an exciting, unfinished attempt at advancing the action cinematography techniques.
Legacy and Cultural Impact
Carter may not have unanimous praise from critics, but it does stand out from the crowd for its bold technical achievements for South Korean action cinema. It’s one of the few films attempting the “single-take” style like 1917 and Hardcore Henry, but it sets itself apart with a Korean twist—politically charged storytelling blended with masterful choreography.
Carter also bolsters South Korea’s growing reputation for producing internationally acclaimed action films. Jung Byung-gil’s high-octane style was instantly available to the world after Netflix released the film.
Conclusion
Carter is not a film that allows the viewer to rest during its runtime. It is a relentless dash through a world rife with violence, political strife, and the need to survive. Its use of the illusion of a continuous shot is its primary dynamic and distinguishing feature, and its setting in the midst of a pandemic adds to the urgency of the chaos.
Carter is a reflection of the bold experimentation sought in the global market and the level of creativity that filmmakers are using to be unique. South Korean action cinema did not hold back using high octane action, and it is certainly a talking intercept as the viewer’s perspective is left on the edge of a beautifully constructed piece of work.
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