Recently, a new form of film, quite different from the conventional cinematic grammar, has been making its way to audiences. Among these, the emergence of a unique concept called the "snack movie" is a noteworthy phenomenon. As the name suggests, this film format, meant to be enjoyed lightly and quickly like a snack, has a very short runtime similar to a short film, which raises the interesting question, "Should one really go to a theater to watch this?" For audiences accustomed to the deep and lengthy narratives of feature films, the snack movie presents itself as both a fresh stimulus and a new challenge.
Where the snack movie diverges from a simple short film is its close connection to corporate branding. The work that first etched this attempt into the public consciousness was "Night Fishing," starring actor Son Suk-ku. Despite being produced in collaboration with Hyundai Motor Company, it shed any overt sense of being an advertisement and showcased unique artistic merit, earning positive reviews. The "Believe" project, planned and produced by Cheil Worldwide, is also significant as a new endeavor to emotionally convey corporate values through the medium of cinema.
The "Believe" project consists of a total of three films under one overarching theme. Each film explores the common keyword of "belief" from a different perspective. The first work poses the philosophical question, "Can you believe what you cannot see?" The second film carries a hopeful message: "Belief allows one to reach their dreams." Finally, the third film delves into the nature of faith that comes at unexpected moments under the theme, "Belief approaches in an unfamiliar form," leaving audiences with diverse food for thought.
These three sub-themes were each directed by three different directors with distinct personalities, and the actors featured in each piece also showcase their unique charms. The first film, starring actor Kang Ki-young, interestingly deals with the conflict between a car's autonomous driving sensor technology and human cognitive ability. Through the discrepancy that arises between what the driver witnesses with their own eyes and the data recognized by the car's sensors, it poses the fundamental question of "what to believe," creating a deep resonance with those of us living in a modern technological society.
In the second film, actors Go Chang-seok and Seohyun appear as leads, displaying fantastic chemistry. This movie adopts a unique "film within a film" frame structure, maximizing audience immersion with a rapid development where multiple stories overlap and intersect. Notably, despite the short runtime, actress Seohyun delivers a performance that leaves a powerfully impressive and momentary impact, clearly marking her presence even within the complex composition. The unpredictable narrative flow offers viewers both intellectual amusement and entertainment.
The protagonist of the final and third film is played by rising actor Lee Jung-ha. He portrays an ice hockey player suffering from the "yips," a condition that prevents him from performing to his full potential due to extreme pressure. The process of the frustrated protagonist gradually regaining his confidence and healing his trauma through a mysterious phenomenon he experiences warmly depicts a story of growing pains and overcoming adversity that we can all relate to, delivering touching emotion and comfort.
What made one contemplate seeing this unique film project at a CGV theater was its unconventional runtime and ticket price. The total runtime for all three films is a mere 37 minutes, and accordingly, the ticket price was set at the low price of only 2,000 won. It sparks curiosity about what the experience would have been like in a theater, with the house lights coming up after just 37 minutes, and what kind of lasting impression such a short but intense cinematic experience would have left.
In fact, what may be more familiar to people than the films themselves is the OST "Fly," sung by Wendy of the group Red Velvet. The song first captured the public's ear by being featured as background music in TV commercials, naturally sparking curiosity about the films. "Believe" successfully targeted a niche in the film market with its unique material and innovative planning. The fact that it recorded a final audience count of 12,000—a figure that is by no means small—is a surprising achievement that demonstrates the potential of the new "snack movie" genre.
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