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The film offers a fresh and nuanced perspective on the complexities of identity, home, and emotional upheaval. The central character's multi-year quest to return to her place of birth serves as an intense focal point for exploring the intricate emotions and challenges related to adoption and self-discovery. However, a minor drawback lies in the occasional reliance on clichés, which briefly detract from the otherwise innovative approach.

The narrative structure stands out for its inventiveness, seamlessly weaving multiple timelines in a way that enriches the emotional landscape. The fragmented narrative is both audacious and purposeful, reflecting the protagonist's evolving inner world.

Beyond visual appeal, the film's cinematography serves as a narrative tool, adding layers of meaning to characters and themes. The score acts as the emotional backbone, elevating key moments and offering another layer to the viewer's experience.

In summary, the film emerges as a deeply affecting and intellectually stimulating exploration of identity, adoption, and the pursuit of true belonging. With its compelling storytelling, captivating performances, and visually arresting cinematography, it provides not just entertainment but a profound cinematic experience.

I could not watch this film without any expectation or prejudice, as I know someone who has a sibling that is an adopted Korean child. However I still tried to keep an open mind, and I think the film is executed well.

Freddie is the only character that is really fleshed out and I think that's right. There are several other characters, notably Freddie's father, that are treated with respect by the film but they are not given a lot of depth. But since it's not their story that is being told they all have to take a back seat to the little girl that it's all about.

After watching this I did a little digging and I found that adoption, foreign or not, is culturally, politically and therefore historically laden in South Korea. You have to want to go looking for it as the film does not push the subject too heavily, but it certainly has several scenes referring to this subject from the institutional rather than the personal viewpoint.

I do think the film has some problems in finding the right tone and there are segments that do not help progress the story. The whole birthday party segment might be nicely shot but does not really add anything.

All in all it's a good film and it triggered me to learning a bit more about its subject matter.

Inspired by the life of Laure Badufle, the screen-writer, "Return To Seoul" takes us on a journey of regret, anger, sorrow and wondering what could have been. This film puts an exciting spin on the "adoptee wants to find their biological parents" genre with its depiction of all of the stages Freddie, the protagonist, goes through on her journey of reconciling with her biological parents and also finding her own identity. Davy Chou, the director, captures incredibly Freddie's stance on reuniting with her father, which shows that she is torn between wanting to meet him and being angry with him for giving her up in the first place - this ambivalence keeps the whole narrative thrilling in an otherwise slow pace/slow burn picture like this. What I must appreciate is the truly realistic approach to the legislative side of how adoptees can find their parents, that helps the film being believable. Also I completely admired the striking performance of Park Ji-min in the titular role and I couldn't believe that this was actually her first film ever.

Return to Seoul is an ambitious film, telling the story of a young woman named Freddie, who was born to Korean parents, but grew up in France. She - you guessed it - returns to Seoul, partly motivated to search for them, in her early to mid-20s. From there, the movie plays out sort of the way you'd expect for a while... until it makes some interesting narrative decisions, spanning far more time than I'd expected it would. As such, we get an insight into Freddie and the ways she changes throughout her 20s and into her early 30s.

Tonally, it's very different from The Worst Person in the World, but I got flashes of that film from this; maybe it scratched a similar itch. Each looks at a troubled & flawed, yet interesting, compelling, and sympathetic young protagonist, each spans quite a long period of time, each explores loneliness and the trials and tribulations of early adulthood in a very hard-hitting way, and each is quite visually striking. But like I said, they're tonally different, given Return to Seoul is more of a straightforward drama than a romantic-dramedy, and it gets darker and more in-depth with its exploration of loneliness (which hits extra hard, given what the world's been through since the start of the 2020s).

It's not always clear where the film is going, and some of the decisions it makes are quite jarring (though most work for the story and characters, once the shock wears off). The pacing is quite slow, but the compelling main character, the visually pleasing look of the film, and the amazing acting kept me engaged for almost all of its two-hour runtime. Park Ji-Min gives one of the best performances of 2022, and I was shocked to read this is her first ever movie. A performance like this that's so central makes or breaks this kind of character-focused film, and thankfully, she's up to the task and then some.

This might not be everyone's cup of tea, but I liked it a lot. While it was deliberately-paced, it never lost me, and I found some of the scenes quite moving. It's a very good movie; hopefully it won't go under too many people's radars, as Awards Season ramps up.

As an audience member, films that cover the topic of adoption, there are expected themes of identity involved. But instead we get more of a random style of set-pieces within the conventional moments that represented identity in a unique way.

For the most part, it worked for the character and the story. But there were some that I just couldn't get on board with and some were even so random they were unforgivable.

I really liked Park Ji-Min's performance. I enjoyed the attitude that she gave to the leading character and the spontaneous moments that she orchestrated were largely memorable and one of the strongest parts of the film.

I liked the overall look. It was able to give us some effective imagery in different environments and never feel like different films.

The pacing was gentle. There were some purposeful lingering shots which worked well for the most part. Also, the camerawork was respectful with its wide shots as it let the pictures do the talking instead of taking over and turning it into something that wasn't intended.

As mentioned, I wasn't invested with every decision made. Some of the choices in the narrative in the second half made no sense to me. There were others I appreciated, but just wasn't a fan of them.

Despite that, I thought this was still a good enough drama that was worth my time. It's got a solid leading performance that you're willing to invest in. It also poses some interesting representations on the themes of identity that I've not seen before.

I cannot forgive some of the random moments in the second half. But nevertheless, there was enough engrossing moments to keep me guessing how this would end.