In this blog post, we’ll examine the characteristics of the “drama” genre and the emotional message conveyed by the film ‘Maison de Himiko’.
Genre Characteristics of Drama
The term “drama” itself has become a widely used expression in South Korea that is conventionally categorized as a genre, rather than a genre with a clearly defined definition. Just as the ballad has established itself as a distinct genre in Korean music, the term “drama” evokes specific emotions and narrative styles within the Korean film industry.
If we define the characteristics of a drama, it tends to center on small, everyday stories—or, at times, tragic or comedic ones. Familiar human relationships and emotions, such as romance between men and women or conflicts between parents and children, take center stage, and these are explored either in a subdued manner or through extreme scenarios.
Furthermore, dramas focus on moving the audience and leaving a lasting impression. They do so not by forcing exaggerated moral lessons, but by quietly and gently seeping into the heart, drawing the viewer into the story before they even realize it. Rather than showing everything explicitly, they leave room for the audience to savor the nuances of emotion on their own.
The Movie ‘Maison de Himiko’ and the TV Drama
The story of ‘Maison de Himiko’ begins with a character named Saori, who harbors hatred toward her mother and her gay father, who abandoned her. One day, while she is struggling financially, her father’s partner, Haruhiko, visits her and asks her to help out at the gay retirement community her father founded.
Haruhiko informs her that her father, Himiko, is battling cancer, and Saori decides to visit the retirement community once a week in the hope of receiving an inheritance. And so, every Sunday morning, Saori knocks on the door of “Maison de Himiko,” and the story unfolds.
The gay retirement community, reminiscent of a European castle by the sea, is home to people with diverse backgrounds and personalities. At first, Saori keeps her distance because they are gay, but as she encounters their unpretentious and pure nature—as well as the loneliness and worries hidden beneath the surface—she gradually opens her heart.
Saori’s changing perspective mirrors that of the audience. The film does not explicitly call for “viewing gay people with warmth,” but it naturally shifts the audience’s attitude through the protagonist’s emotional journey. In this regard, the film uses dramatic devices to elicit empathy and a shift in the audience’s perception.
The character Saori is portrayed as someone whose facial expressions rarely change. Although she always looks sullen, she is not fundamentally a person who hates others or lacks goodwill. Rather, because she expresses her emotions through anger, the audience is left to infer her inner thoughts based solely on clues and imagery.
The relationship between Saori and Haruhiko is complex. To Saori, Haruhiko is the one who took her father away—an object of contempt—but Haruhiko strives to restore the bond between father and daughter. As time passes, Saori comes to understand Haruhiko and, as she learns her father’s true feelings, begins to move toward forgiveness.
At one point, the two kiss and attempt to sleep together, but Haruhiko is gay. Although they are attracted to each other, their complex emotions prevent their relationship from developing into a romantic one, and their bond remains in a form that is neither family nor lovers. Rather than forcing a definition on their relationship, the film chooses to leave it in its ambiguous state.
Later, a character named Ruby suffers a cerebral hemorrhage, and the circumstances surrounding him trigger Saori’s anger, ultimately leading her to leave “Maison de Himiko.” Ruby was transgender, and the scene where Saori is forced to witness his death due to financial difficulties becomes the catalyst that drives her away.
However, Saori eventually returns to “Maison de Himiko,” and upon hearing the first sincere words Haruhiko has ever spoken to her, she bursts into a torrent of tears with a pout on her face. That scene feels like the climax of the film’s ability to warmly envelop both the audience and the characters—even the onomatopoeic sound “piki-piki-piki-!” that recurs throughout the film functions as a kind of magical incantation.
It is difficult to categorize this work into a single genre. It features a romantic subplot between a man and a woman, explores the lives of the elderly, and intertwines the emotions of parents and children, as well as those between men and women. It has a different tone than typical melodramas or romances, and it’s a far cry from the categories of comedy or thriller.
Nevertheless, this film is not simply a superficial mix of various themes. By highlighting—rather than defining—the subtleties of character relationships through these diverse elements, it maintains a depth that doesn’t force a conclusion. Therefore, the broad and inclusive genre classification of “drama” can be considered appropriate for describing this work.
Conclusion
The film captures the audience’s heart with its gentle music and visuals, bringing the situations to life through a balancing act of complex and ambiguous emotions. The relationships between Saori, Haruhiko, and the “Maison de Himiko” family need not be labeled; what matters is simply how they cherish and support one another.
While it is a work that defies easy genre classification, that does not mean it lacks a genre. Director Itsunori Inudo is known for his skillful handling of this kind of delicate emotion and atmosphere, and a similar sensibility and visual beauty can be found in his other works.
Ultimately, rather than categorizing this film strictly into a single genre, it feels more natural to view it simply as “a film by Itsunori Inudo.” Through its gentle emotional resonance and distinctive visuals, the film illustrates the preciousness of life and the universality of love.
