The film "Sinkhole" (also known as "Sinkhole") is a disaster film directed by Kim Ji-hoon and starring Cha Seung-won, Kim Sung-joon, Lee Kwang-so, Nam Do-rin, and Ko Chang-seok. The disaster in the film caught the victims by surprise, and they could only choose to escape to the limit, and the problem of human nature was also revealed.
Park Dong-won, an employee of the company, bought a house cheaply and lived in it with his wife Xiaoying and his child Xiu Can, but unexpectedly, there was a problem with the house. When Xiu Can plays with the glass ball, the glass ball automatically rolls along the ground, proving that the ground has a slope. Park Dong-won had to prove to his neighbors that there was a problem with the building, to see if the doors and windows were tight when they were switched on and off, and to see how inclined the building was. But no one took it seriously, just so perfunctory.
Park Dong-won invited the company's colleagues Seung-tae and Eun Joo to wait until the family dinner, after the dinner, the building suddenly collapsed, fell directly down, fell into the hole of 350 meters below. Park Dong-won and his children Xiu Chan, Cheng Tae, and Eun Joo in the building did not come out, nor did the neighbor Kim Seung-hyun father and son come out. At a depth of three hundred and fifty meters underground, they gathered together to warm each other, thinking of escaping from the sinkhole and returning to normal life.
Park Dong-won's wife, Xiaoying, went to the street to buy vegetables, and when she returned, she saw that the house had collapsed and could not do anything. The rescue team arrived, but they could not send the rescue team to such a deep place, so they could only use drones to detect messages and throw food and necessities with parachutes. Park Dong-won took the satellite phone dropped on it and talked to his wife, only to learn that his son Xiu Can did not follow Xiaoying out to buy vegetables, but was trapped in the building. Park Dong-won himself went down the elevator shaft and, after many dangers, rescued his son who was hiding in the pipe. Seeing that there was an old mother guarding her dead son in someone else's house, Park Dong-won went to the house to save her, but the old mother had no intention of leaving, holding her dead son and waiting for death. She gave Park Dong-won a pair of shoes and asked him to wear them to carry Xiu Chan out.
The old mother's care for Park Dong-won's father and son reflects the warmth of human nature and also embodies the fearless spirit of sacrifice.
Park Dong-won returned to the roof with his son, but a building above collapsed again, falling from the mouth of the cave and being caught in the hole. It began to rain again, and the rain poured in, quickly flooding the building. They had to find a way to escape, at which point Kim Seong-hyun found a yellow plastic jar and put Park Dong-won and them all inside, while he chose to close the lid and put a mouth with a ventilator outside to help the people in the plastic jar escape.
They were eventually rescued, but it was already a comedy. The film is a bit of an outrageous fiction and doesn't fit into institutional mechanics. When the building collapsed, where did it fall vertically into the hole? Besides, falling to three hundred and fifty meters underground, people basically can't survive, even oxygen is not enough, not to mention that there is another building that falls with the pressure of Mount Tai and is on it. Several people in the building actually came back to life, helped each other, organized rescues, and escaped together. Isn't that idealistic? It is better to say that it is a limit escape, but it is better to say that the director deliberately showed a fictional disaster scene and let them achieve a fictional escape. Too much idealization of the disaster makes humanity not very well displayed, but it does not detract from the warmth of human nature.
Perhaps, the director's fictional disaster is not the focus of the film, focusing on the warmth of human nature in the face of disaster and the strong will to escape to the limit. But the film seems to be a bit comedic, ignoring the meaning of tragedy. The film does not make too many condemnations and lashings to the developers and the government, not even a word, but focuses on the construction of disasters and escapes, which are not painful or itchy, but are easy to resonate.
The director is flattering, but it detracts from the tragic strength of the disaster, and it is also slightly insufficient in the strength of human performance, although in the end most people have escaped under extreme conditions, but it is clear that it does not give people too much thinking, and there should be some critical strength, so as not to make the film vulgar.