Exploring incestuous sexual violence and secondary victimization through layered perspectives
Director Kim Hye-jin’s short film 'Ga(家)haeja' (2024), whose title combines the idea of “family” with the Korean word for “perpetrator,” examines violence hidden within the structure of family and the wounds it leaves behind. Running for 27 minutes, the film carefully exposes a complex reality in which those closest to the victim become the source of oppression while social and psychological pressure deepens the harm. The weight suggested by the title foreshadows the moral dilemmas and tangled relationships the audience is about to face.
At the center of the story is Hyun-ju, a victim who must continue living in the same space as the family member who harmed her. Forced into this environment, she experiences growing internal conflict and psychological pressure. Rather than presenting the incident in a straightforward sequence, director Kim builds the narrative around Hyun-ju’s shifting emotional state, capturing the helplessness and loss that arise from violence within the family. The camera lingers on her gaze and gestures, revealing the isolation and anger that persist even within what should be a place of protection.
Actors Jung Mi-hyung, Lee Sang-bin and Min Hyo-kyung play key roles in grounding the film’s realism. Jung Mi-hyung in particular portrays the victim’s fear, anxiety and complicated emotions toward her family with striking depth, drawing the audience into Hyun-ju’s inner world. Lee Sang-bin and Min Hyo-kyung, portraying the perpetrator and surrounding family members, reveal the violence embedded within the household while exposing the power structures and tangled emotional relationships inside the family.
The film’s visual direction reinforces its themes. Cinematographer Park Ho-gyu repeatedly frames the story within narrow and enclosed spaces, visually expressing the psychological pressure that traps Hyun-ju within the family environment. The restrained color palette and quiet tone maintain a sense of unease throughout the film, while lighting and production design closely connect the characters’ emotions with the surrounding space, heightening dramatic tension.
Editing and sound design further deepen the audience’s immersion. Editing by Kim Hye-jin and Park Ho-gyu interweaves different moments in time, organically linking memory and the present. Sound recording by Sung Hyun-woo and sound design by Kim Won amplify the subtle anxiety hidden within everyday noises, while the delicate score by the music team The Theme draws buried emotions to the surface.
Director Kim emphasizes that family can function both as a source of healing and as a site of harm. The isolation and helplessness experienced when a victim is ignored within their own family run throughout the film, revealing the broader social implications of incestuous sexual violence and secondary victimization inside family structures.
'Ga(家)haeja' has also drawn attention at film festivals both in Korea and abroad. The film screened in the XL section of the 28th Bucheon International Fantastic Film Festival and at several women’s and human rights film festivals. At the 18th Women’s Human Rights Film Festival it received the Pi-um Choice Award and the Pi-um Award, demonstrating the work’s artistic impact. The recognition highlights how the film expands a deeply personal story into a broader social discussion.
The film speaks both to independent cinema audiences and to viewers concerned with social issues. By carefully portraying violence within the family and the psychology of its victim, it pushes audiences to confront uncomfortable realities and reflect on the social structures surrounding such experiences.
Hyun-ju’s psychological conflict reflects a reality that Korean society continues to face today. Victims who fail to receive support from either family or society often become isolated, and that experience evokes both empathy and anger from viewers. It is the story of Hyun-ju gradually disappearing behind a mosaic of silence.
Director Kim previously captured the subtle tensions within everyday relationships in her earlier work 'Laundry' (2020). In 'Ga(家)haeja' that perspective deepens further, balancing a social message with a personal narrative. Its focused exploration of the victim’s psychology and family dynamics gives the short film a rare level of depth.
The film does not remain confined to a crime narrative or a simple victim story. Instead it examines violence hidden behind the name of family and the personal wounds that disappear within it, connecting a social issue to the audience’s inner experience. Over the course of 27 minutes viewers follow Hyun-ju’s perspective and emotions, gradually absorbing the film’s message.
'Ga(家)haeja' demonstrates how independent cinema can connect social debate with personal experience. By confronting violence and sexual abuse within families while exploring the psychology and responsibility surrounding them, the film leaves a lasting impression on its audience.
Reported by News Culture M.J._mj94070777@nc.press
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