We usually divide science fiction films into two categories: hard science fiction, which refers to films that are armed with scientific knowledge and have a scientific explanation to support the setting. This type of film has a certain height, because it explores issues that go beyond individualism to the future fate and development of humanity.
Another type of film is soft science fiction. The dominant ideas in soft science fiction films are based on personal emotions. The scientific settings in soft science fiction are often vague and plausible. These settings include unsolved human mysteries or paranormal behavior in the context of a very broad range of natural phenomena. For example, it is possible to talk to aliens or telepathy in space and time.
Since these phenomena are very subjective, the scientific explanations are much weaker and we are presented with a drama film in the name of science fiction. However, such soft sci-fi resonates more emotionally with people than a regular feature film.
Whether it is a drama alone or a science fiction film alone, such a film fails the grade, but the combination of the two can still be a masterpiece.
The film we present to you today is a soft sci-fi and a feature film wrapped in a science fiction movie. The film is called “Black Hole Frequency” which is obviously a very bluff name, however, after watching the film, you will find that it has nothing to do with black holes per se, it is just a concept borrowed for the story of time and space.
And this concept is not strictly speaking a black hole, but an aurora borealis. Because the word frequency means frequency, and why it is translated as black hole frequency is probably because it makes it easier to understand the central idea of the film, or because it’s a fox’s bluff, because it’s more bluff when it’s associated with a black hole.
The Black Hole Frequency is a story about a dialogue that takes place outside of time and space. The film is about two men, a real-life father and a son who stumbles upon a radio station that his father left behind and can talk to him decades later.
The son, who discovers the secret, first helps his father to escape a fire. Who knows, because of the fire, the son accidentally turns time and space around, and then he is forced to become involved in a series of murders.
With this ability to travel through time, father and son work together to solve the case. In the end, the son succeeds in keeping his father and his own happiness, and the film comes to a happy ending.
It is a touching story, but the core of the story has nothing to do with science fiction. The added “superpowers” are nothing more than a more glamorous packaging for the traditional Goldfinger.
Just like in the previous Korean idol drama, “You from the Stars,” in order to create a man with superpowers, it is necessary to give him a mannequin. The more vague the scientific explanation of this persona, the better, and only then will some of the holes in the work seem normal. This is the powerful blend of broad science fiction.
Because there is no rigorous scientific explanation for everything, but it all stems from an unexplained natural scientific phenomenon. Because it cannot be completely affirmed or denied. Therefore, many of the scenes in the film can actually be constructed in such a way that they can be justified within this broad scientific explanation.
This is why, when we watch this type of science fiction film, we have a wonderful feeling that often after following the director’s narrative logic, the audience will unconsciously ignore the discussion of the serious scientific scenes in this film and let the emotional factor prevail instead. This is what makes such science fiction films so compelling.
Of course, you can’t say that such films are simply good or bad. From a creative point of view, the intermingling of different genres, if done well, can transcend the same genre itself.
That’s why lame melodrama meets lame sci-fi and becomes classic soft sci-fi. Because in one genre alone, such stories don’t dominate, but the fusion can bring out a different kind of story, and that’s the point of the fusion.
This film is very good in a certain sense, but soft sci-fi is soft sci-fi, and even if it is wrapped in a sci-fi veneer, it is still essentially a feature film that aims to teach people the meaning of cherishing.
To cherish an emotion, to cherish a state of being, to cherish a personal feeling, to cherish a beautiful atmosphere, etc. If you want to see scientific principles and questions about the future direction of mankind, then I’m sorry, but the creators were not prepared for that.
Another criticism of such films is that they are so concerned with personal feelings that they focus on changing one’s destiny, forgetting that while your destiny is being changed, the destiny of others on the planet is being further interfered with. So, as we see the man in the film constantly trying to have it both ways, we can’t help but wonder what the other people in the film are going to do with their futures and their pasts.
Of course, such a film is not meaningless, at least after the release of this film, such a concept has been adopted by many people, such as Gigi Leung’s “A Thread of Love” and Jay Chou’s “The Unspeakable Secret”, all of which use such a soft sci-fi. I think this is the fundamental reason why this film is a classic.
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