DIVA speaks to the director of this exciting new South Korean comedy
BY ELLA GAUCI, IMAGE BY UNCOMMON PICTURES
In this sharp and heartwarming comedy, feisty lesbian elder Manok flees Seoul’s queer youth culture—only to face an even messier showdown in her rural hometown. With a stubborn ex-husband-turned-mayor in her way and unexpected allies by her side, she’s ready to rewrite the rules of home, love, and belonging.
DIVA spoke to director Yujin Lee ahead of its screening at BFI Flare.
Was there a specific moment or reference point which inspired your film?
In South Korea, where same-sex marriage is not legalized and there are no anti-discrimination laws, living as a queer person remains incredibly challenging. As a result, most stories focus on the fight for basic survival rights. However, I wanted to go beyond that – to tell a story about queer people who, like their heterosexual counterparts, aspire to more, even in these circumstances. At the same time, witnessing the generational conflicts within the queer community, I felt it was meaningful to explore those dynamics as well – through the lens of comedy.
If you had to describe your film in three words, what would they be?
Supporting each other.
What was the most unexpected lesson you learned while making this film?
Making my first independent feature film on a limited budget, I found myself constantly relying on the generosity and support of others at every stage of the process. One of the most moving moments was when my queer friends travelled long distances by bus to our remote countryside set. Their dedication, along with the incredible support from the wider community, left a deep impression on me.
Having worked my way up from making short films to producing an independent feature, sadly as director, I began to prioritize what was realistically achievable within the budget. The election day scene in Manok would have been difficult to shoot without exceeding our financial limits if not for the heartfelt participation of my dear queer friends.
More than anything, this journey has taught me the invaluable power of collective support – the way people came together for the message of this film and offered their kindness. It was because of them that I was able to bring this project to life.
How does it feel to have your film showcased at BFI Flare?
I’m absolutely thrilled that my film is having its world premiere at BFI Flare. When I visited two years ago with my short film, I was deeply impressed by the diverse and exciting queer films and the way audiences came together to celebrate them.
BFI Flare is a celebration of LGBTQIA storytelling. What do you hope LGBTQIA audiences at BFI Flare take away after watching your film?
Since it’s a comedy, I hope people laugh a lot! At the same time, I’d love for audiences to reflect on the different yet similar challenges faced by older and younger queer generations, as well as the contrasting realities of being queer in rural versus urban environments.
Why do you think LGBTQIA filmmaking is so important in 2025?
The world seems to be getting better in some ways, yet at the same time, it feels more chaotic than ever. I believe LGBTQIA films allow audiences to see and feel how the world is evolving. Moreover, there are still so many fresh and untold queer stories waiting to be made.
This year’s Flare is split into the themes of Hearts, Bodies, and Minds. Do you have an LGBTQIA film which affected your heart, body, or mind?
Love Lies Bleeding by Rose Glass.
What was the best piece of advice you received while working on this film, and what advice would you give to emerging queer filmmakers?
“Don’t give up on this film.”
That was the advice a distribution company executive, whom I respect, gave me. From writing the script to post-production, I spent nearly three years working with an impossibly tight budget, growing more exhausted and drained along the way. But more than anything, I think the hardest part was the loneliness – because, in the end, it’s just me. At times, I even found myself convincing myself that what I had was “good enough.” In those moments, that simple piece of advice kept me going.
And I’m still holding onto it. Until the day this film hits the big screen, I’ll keep pushing to make it the best it can be.
As for advice to emerging queer filmmakers – honestly, I still consider myself one, so I don’t feel quite qualified to give guidance. But if there’s one thing I’ve learned while making Manok, it’s that audiences are always eager for new queer stories. They’re out there, waiting. So let’s keep going. We’ve got this!
What’s the one question you wish more people would ask about your film?
How do we take a step forward when nothing changes and hope fades?
MANOK screens as part of the 39th BFI Flare: London LGBTQIA+ Film Festival on Sunday 23 March and Wednesday 26 March. For further details and tickets here
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