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House of Hummingbird

Jihu Park (Actor), Saebyuk Kim (Actor), Bora Kim (Director) Rated:
NR
Format: Blu-ray
4.2 4.2 out of 5 stars 94 ratings
IMDb7.4/10.0
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August 4, 2020 		—
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From the manufacturer

Well Go USA Entertainment new movie house of hummingbird drama korean coming of age DVD blu-ray
Well Go USA Entertainment new movie house of hummingbird drama korean coming of age DVD blu-ray
Well Go USA Entertainment new movie house of hummingbird drama korean coming of age DVD blu-ray

Product Description

Product Description

14-year-old Eun-hee moves through life like a hummingbird searching for a taste of sweetness wherever she may find it. Ignored by her parents and abused by her brother, she finds her escape by roaming the neighborhood with her best friend, going on adventures, exploring young love and experiencing everything that comes with growing up in a country on the brink of enormous change.

Review

Sensitive, keenly observed and unflinchingly honest --The Hollywood Reporter

a compassionate piece on interpersonal connection that ll touch your heart when it s at its most vulnerable. --The Playlist

House of Hummingbird is about loving and embracing those scars. --/Film

Product details

  • MPAA rating ‏ : ‎ NR (Not Rated)
  • Product Dimensions ‏ : ‎ 0.7 x 7.5 x 5.4 inches; 5.92 ounces
  • Director ‏ : ‎ Bora Kim
  • Media Format ‏ : ‎ Dolby, Subtitled, Surround Sound, Widescreen
  • Run time ‏ : ‎ 2 hours and 18 minutes
  • Release date ‏ : ‎ August 4, 2020
  • Actors ‏ : ‎ Jihu Park, Saebyuk Kim, Seungyeon Lee
  • Studio ‏ : ‎ Well Go Usa
  • ASIN ‏ : ‎ B088N8ZRKN
  • Country of Origin ‏ : ‎ USA
  • Number of discs ‏ : ‎ 1
  • Customer Reviews:
    4.2 4.2 out of 5 stars 94 ratings

Customer reviews

4.2 out of 5 stars
4.2 out of 5
94 global ratings

Top reviews from the United States

RS23
5.0 out of 5 stars Well worth watching
Reviewed in the United States on September 1, 2023
Verified Purchase
A highly enjoyable and satisfying movie, if unhappy and sad. The world of a 14 year old Korean young woman is far away from this elderly American man. Yet this film is more relatable and touching for me than 98% of the movies coming out of Hollywood. It's a pity that the audience for such films is so small in the US.
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Mary
5.0 out of 5 stars Very Tender Coming-of-age Story
Reviewed in the United States on August 20, 2020
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Very glad that this film finally got a home media release. It is an incredibly sensitive coming-of-age story that fans of somethign like The 400 Blows or Dickens may very well gravitate toward. Especially impressive that it's a feature debut. I'll be watching whatever Kim Bora puts out next
4 people found this helpful
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GeeWhizz
4.0 out of 5 stars When life serves you lemons and you're not yet equipped to make lemonade.
Reviewed in the United States on January 3, 2021
Beautiful movie with relatable characters. The world of 14 year old girls is as chaotic and dramatic or even more so than that of adults, but less equipped to navigate difficult events they encounter.
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kms
3.0 out of 5 stars Broken promise
Reviewed in the United States on July 18, 2023
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Slow. Disjointed. She didn’t even get the medical report for a police report in 1994 for pity sakes. Twist at the end. No mentioned of her biopsy result.
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John Elliott
5.0 out of 5 stars Sensitive film
Reviewed in the United States on December 25, 2020
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Poignantly told story of a neglected child in a family stressed by the rigors of life.
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Christina Reynolds
5.0 out of 5 stars Warm, Feels Good, Aches In All The Right Places
Reviewed in the United States on March 23, 2022
My rating is more of a 4.5
Thanks for reading!

𝑨𝒎𝒐𝒏𝒈 𝒂𝒍𝒍 𝒐𝒇 𝒕𝒉𝒆 𝒑𝒆𝒐𝒑𝒍𝒆 𝒚𝒐𝒖 𝒌𝒏𝒐𝒘, 𝒉𝒐𝒘 𝒎𝒂𝒏𝒚 𝒅𝒐 𝒚𝒐𝒖 𝒖𝒏𝒅𝒆𝒓𝒔𝒕𝒂𝒏𝒅?

Originally admired as a symbol of change and new opportunities, the original Seongsu Bridge - which crosses over the Han Bridge, and located in the area of the world (the city of Seoul) with the highest growth rate in the world from 1950 to 1975 - collapsed around 7:40 in the morning on October 21st, 1994;
In the aftermath it would be reported that thirty-two individuals died in addition to seventeen individuals being injured.
Officiated determinations and subsequent statements blame a “defective weld” as the primary cause for this tragedy, whereas secondary faults (and the absence of mitigating factors) and observations contextualize an avenue of procedural oversights and misguided decisions.

House of Hummingbird (Korean: 벌새) is a 2018 South Korean drama film written and directed by Kim Bora.
Ignored by her parents and abused by her brother, 14 year old Eun-hee often roams the neighborhood with her best friend: Going on adventures, exploring young love, and experiencing everything that comes with growing up in a country on the brink of enormous change.

From the 1960s to the 1990s the city of Seoul experienced a transitional period known retrospectively by many as 𝑻𝒉𝒆 𝑴𝒊𝒓𝒂𝒄𝒍𝒆 𝒐𝒏 𝒕𝒉𝒆 𝑯𝒂𝒏 𝑹𝒊𝒗𝒆𝒓r; during this time a collection of structures such as roads, buildings, power supplies, and bridges were built so as to induce economic growth, encourage rapid industrialization, and hopefully lead to the recognition of the larger South Korea as a “developing nation”. Most importantly, this was capitalized as an opportunity to metaphorically shake the devastation left behind after the Korean War and barriers to change that citizens were left to reconcile after it concluded: with the Seongsu Bridge specifically being one of the first structures to connect the poorest area (known as 𝑮𝒂𝒏𝒈𝒏𝒂𝒎, or the residential district) of Seoul with the wealthiest (𝑮𝒂𝒏𝒈𝒃𝒖𝒌, or the northern business area) section of it.
Seeing as how one of the primary facilitators of drama in 𝑯𝒐𝒖𝒔𝒆 𝒐𝒇 𝑯𝒖𝒎𝒎𝒊𝒏𝒈𝒃𝒊𝒓𝒅 is the use of this bridge as a route one of Eun-hee’s siblings takes to get to school, it may be easy to assume this is being used as gratuitous fodder. On the contrary, this practice (of children commuting between 𝑮𝒂𝒏𝒈𝒃𝒖𝒌 and 𝑮𝒂𝒏𝒈𝒏𝒂𝒎) was fairly common at the time, and Kim Bora’s sister was actually 𝒔𝒖𝒑𝒑𝒐𝒔𝒆𝒅 to be on one of the busses crossing the Seongsu Bridge when it was collapsed, but she ended up coincidentally (and fortunately) being too late to get on it in the first place that morning.

Completed within 2 & 1/2 years of being commissioned (and completed on October, 15th, 1979), the Seongsu Bridge was also praised through media and other efforts as being an unprecedented combination of functionality and subjective beauty. It was swiftly herald as evidence of Korea’s progress in all possible fronts, and its subsequent fall was explained away hastily as the result of it regularly carrying more weight than it was designed to (which, is true, as it was made to hold up to 36.3 tons, but loads as heavy as 47.3 tons were being allowed to cross over it), a more thorough investigation unveiled notably escelative factors.
Firstly, the actual construction of this bridge deviated from the original design (likely to accommodate a lingering sense of urgency), and designated government officials lacked diligence in regards to both maintenance and the conduction of regular safety related checks upon it being completed (which, was likely due to some amount of preoccupation with the sudden accumulation of other large projects being carried out at the time).
With villainy having no clearly ordained head, such nuance is reflected in the subtle drama that is 𝑯𝒐𝒖𝒔𝒆 𝒐𝒇 𝑯𝒖𝒎𝒎𝒊𝒏𝒈𝒃𝒊𝒓𝒅’s script. At times it transforms into a bit of a soap opera with a desperation for contention, but the low-bearing fruit that is polarization is entertained in empathetic measures as opposed to nescient ones. Hollowed emptiness is so prevalent, and yet so mystified, and breathes life into the relationship Eun-hee has with others as an ever evolving jamboree. Interspersed, perhaps intentionally so, is the thematic presence of ‘understanding’ that leaves so little to the imagination, but such transparent inclination towards perceptual modulation deserves to go on the radar as opposed to underneath it.

As I write this, Hummingbird season is creeping right around the corner. Native to the Americas, a large portion of the Hummingbirds’ diet is the nectar from flowers they find, and a majority of its species are found in tropical regions.
When asked about the title, Bora has elaborated in the past on the Hummingbird’s seemingly self-absorbed feeding patterns; not only must they eat constantly due to having the highest mass-specific metabolic rate of any homeothermic animal, but they will travel as long as 23 miles in one day to remain sustained. Such nutritional requirements lends to a state of constantly chasing fulfillment and provisionals albeit on a almost relatively microscopic scale, and is one of the more significant parallels that grounds 𝑯𝒐𝒖𝒔𝒆 𝒐𝒇 𝑯𝒖𝒎𝒎𝒊𝒏𝒈𝒃𝒊𝒓𝒅 as a uniquely engaging coming-of-age story. Moreover, and what harmonizes the absurdity, it is the specification of struggles related to Eun-hee’s social status that offsets a usual contrivance of shallow disarray.

𝑾𝒉𝒂𝒕’𝒔 𝒕𝒉𝒆 𝒓𝒊𝒈𝒉𝒕 𝒘𝒂𝒚 𝒕𝒐 𝒍𝒊𝒗𝒆?
𝑺𝒐𝒎𝒆 𝒅𝒂𝒚𝒔 𝑰 𝒇𝒆𝒆𝒍 𝒍𝒊𝒌𝒆 𝑰 𝒌𝒏𝒐𝒘, 𝒃𝒖𝒕 𝑰 𝒓𝒆𝒂𝒍𝒍𝒚 𝒅𝒐𝒏’𝒕 𝒌𝒏𝒐𝒘 𝒇𝒐𝒓 𝒔𝒖𝒓𝒆.
𝑰 𝒋𝒖𝒔𝒕 𝒌𝒏𝒐𝒘 𝒕𝒉𝒂𝒕 𝒘𝒉𝒆𝒏 𝒃𝒂𝒅 𝒕𝒉𝒊𝒏𝒈𝒔 𝒉𝒂𝒑𝒑𝒆𝒏, 𝒈𝒐𝒐𝒅 𝒕𝒉𝒊𝒏𝒈𝒔 𝒉𝒂𝒑𝒑𝒆𝒏 𝒕𝒐𝒐.
𝑨𝒏𝒅 𝒕𝒉𝒂𝒕 𝒘𝒆 𝒂𝒍𝒘𝒂𝒚𝒔 𝒎𝒆𝒆𝒕 𝒔𝒐𝒎𝒆𝒐𝒏𝒆 𝒂𝒏𝒅 𝒔𝒉𝒂𝒓𝒆 𝒔𝒐𝒎𝒆𝒕𝒉𝒊𝒏𝒈 𝒘𝒊𝒕𝒉 𝒕𝒉𝒆𝒎.
𝑻𝒉𝒆 𝒘𝒐𝒓𝒍𝒅 𝒊𝒔 𝒇𝒂𝒔𝒄𝒊𝒏𝒂𝒕𝒊𝒏𝒈 𝒂𝒏𝒅 𝒃𝒆𝒂𝒖𝒕𝒊𝒇𝒖𝒍.

Because of their size, Hummingbirds often travel alone as moving in groups puts them at a greater risk of being endangered by could-be predators. In addition to this, and as a consequence of the (quick) speed at which they move, Hummingbirds have also evolved to sense motion equally in just about every direction all around them.
Most oddly enough, the protective factors that lend to a period of significant social and emotional development for Eun-hee - a stray source of nourishing encouragement and some change of perspective - correlates so conveniently with the sense that the Hummingbird subsequently depends on and has spent the most time developing for its survival. Negligible in terms of size, seemingly always on-the-go, and periodically present, the benefits received from the Hummingbird (agriculturally, and in studies involving visual guidance, amongst other things) by humans are seldom what they are given in return.
If you see one, feel free to blink now.
Just don’t forget to thank them later.
One person found this helpful
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Kathy D. Mill
3.0 out of 5 stars I didn't care for it.
Reviewed in the United States on April 12, 2021
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I was surprised after the outstanding reviews I read.
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Andrea Gutierrez
5.0 out of 5 stars loveeeee
Reviewed in the United States on August 23, 2022
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love the movie very heartbreaking
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LD
5.0 out of 5 stars En délicatesse (1)
Reviewed in France on August 10, 2021
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On a beau comme c’est mon cas aimer le cinéma coréen pour son aptitude à se saisir de sujets puissants avec intensité, il n’y a pas de raison de lui refuser ce que l’on accepte bien volontiers venant, par exemple, du cinéma taiwanais. Des réalisateurs coréens sont aussi capables d’une grande délicatesse de touche, et il se trouve que ces films-là ne sont que trop rarement distribués chez nous. Beaucoup de films indépendants en Corée sont des chroniques plus ou moins autobiographiques, et certains sont évidemment plus réussis que d’autres. On peut voir de tels films année après année au Festival du film coréen à Paris notamment, et regretter que certains ne puissent pas être découverts par plus de spectateurs à l’occasion d’une sortie un peu plus large. Quelques films, mais très peu, trouvent le chemin de la vidéo directement, et l’on ne peut que saluer les éditeurs qui ont le courage de les sortir alors qu’ils n’ont eu aucune exposition hors festival – c’est le cas pour ces dernières années du très réussi Microhabitat de Jeon Go-woon, vaillamment sorti en dvd et blu-ray par Spectrum Films et que je conseille chaleureusement.

House of Hummingbird, sans doute un des fleurons du jeune cinéma coréen indépendant de ces dernières années, a quant à lui été présenté au FFCP en 2019 et a glané des prix dans plusieurs des festivals dans lesquels il a été montré (Berlin, Tribeca). Il n’est sorti ni en salles ni en vidéo chez nous, mais outre ceux qui comprennent le coréen, ceux à qui pourront suffire les sous-titres en anglais doivent savoir qu’ils peuvent sans problème se porter sur le blu-ray paru aux Etats-Unis (dézoné, et donc lisible sans problème sur un lecteur de notre zone).

Lorsqu’on voit des films coréens qui ne sont pas forcément distribués chez nous, on est amené à visionner pas mal de films avec des enfants ou des adolescents en leur cœur. Ceux qui auront pu prendre connaissance de certains des films pour le coup sortis dans les salles françaises ces dernières années le savent déjà : ceux-ci sont souvent maltraités (ex. A Girl at My Door), meurtris dans leur chair (Han Gong-ju / A Cappella ; After My Death), soumis à une pression insupportable, jusqu’à la tragédie (Suneung)… Dans ce contexte, voir le début de House of Hummingbird, c’est se dire que l’on est parti pour le même schéma : en deux séquences, l’on voit une jeune fille à la porte de chez elle, puis isolée à l’école, une de ses camarades disant en substance : « les filles comme elle ne vont pas à l’université et deviennent nos servantes ». Les séquences suivantes tempèrent cette impression : pas complètement isolée, pas dans une famille complètement dysfonctionnelle, Eun-hee ne sera probablement pas un personnage comme il en existe sans doute un peu trop dans le cinéma coréen actuel, l’adolescente presque programmée pour que le sort s’acharne sur elle. Cette impression va perdurer jusqu’à la fin du métrage, long et pourtant jamais trop long et jamais vraiment pesant. Des drames, il y en a, petits et grands (et certains petits à n’en pas douter ressentis comme plus grands pour ce jeune personnage) – mais à aucun moment on ne ressentira le côté un peu forcé de certains scénarios, parfois à la limite de la complaisance pour cette raison même.

Tout dans ce film est traité avec une grande délicatesse de touche et pourtant tout est net. A en juger par sa qualité de regard et par le style qu’elle a adopté, Kim Bora a sans doute des modèles dans le cinéma coréen mais aussi ailleurs, et en particulier dans le cinéma taïwanais que je mentionnais plus haut. On pense un peu aux grands auteurs de la Nouvelle vague taïwanaise : le Hou Hsiao Hsien des premières chroniques, et plus encore Edward Yang, aussi bien pour A Brighter Summer Day (1991) que pour Yi Yi (1999). Kim Bora a tenu à ce que son personnage soit une collégienne et pas une lycéenne – apparemment la préférence de ses producteurs – et son histoire n’est rien d’autre que la chronique d’une jeune fille avec ses joies et ses peines alors qu’elle est confrontée à des changements multiples – et même si cela n’est pas explicité, tandis que le pays lui aussi subit des changements accélérés dans le courant des années 90. Dans les drames qui secouent la vie de Eun-hee, un des plus grands est un drame national ayant des répercussions personnelles pour un certain nombre d’individus, et Kim Bora articule ainsi naturellement le destin d’un pays, alors globalement en pleine mutation et dans ce cas précis ponctuellement marqué par une tragédie, et la réaction au changement de cet être de plus en plus déboussolé. Le résultat est un film jamais ramenard et pourtant riche, sans doute un des plus beaux portraits de jeune fille dans toute la production cinématographique de ces dernières années. Alors qu’elle aussi montre en arrière-fond la course à la réussite des familles coréennes pour leurs gamins, elle n’en fait pas un sujet, de la même façon que d’autres « sujets » potentiels, qui sont au centre de plus d’un autre film, font l’objet d’un traitement là aussi sans lourdeur, en délicatesse même lorsqu’ils se trouvent là plus qu’en filigrane. Ce premier film, il aura fallu près de six ans à Kim Bora pour qu’il se concrétise sous la forme du long métrage auquel elle a fini par aboutir ; il aura en tout cas trouvé sa bonne forme : ni trop long malgré sa longueur objective (2h20), ni courant après trop de lièvres à la fois alors qu’elle aurait aisément pu céder à cette tentation, ne perdant jamais de vue le filtre du personnage principal et lui donnant une étoffe certaine, sans chercher à l’instrumentaliser. Une manière de petit exploit, donc, et un talent qui me semble assez évidemment à suivre.

EDITION BLU-RAY AMERICAINE WELL GO USA (2020)

Comme je l’avançais plus haut, cette édition blu-ray américaine peut d’une part être lue sur nos lecteurs européens, d’autre part ne propose des sous-titres qu’en anglais. Si la langue n’est pas une barrière, alors on aura accès à ce très beau film dans un master de très bonne qualité. L’image est très bien détaillée et ne souffre d’aucun défaut ; le son s’avère très bien traité lui aussi. Pas de supplément en revanche, ce qui est bien dommage car j’ai entendu Kim Bora parler de son film et elle le fait très bien.
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