Dasol Jeon is a Korean filmmaker and actress who began her entertainment career as an actress after being discovered by industry professionals. During her acting training, she realized she wanted to go beyond the role of an actress, which led her to become a filmmaker. In her films, Dasol values art direction and color palettes, creating works with a strong visual appeal and a fantastical approach, with dreamlike protagonists.

Her film "I,doll" was highly awarded at the Experimental Brasil Festival, where it received recognition for its bold and critical approach. The film addresses the objectification of artists, exploring the complexities of the entertainment industry, with a narrative that deconstructs the idealized image of fame. Dasol's decision to act in the film herself, due to difficulties with the cast, was a choice that solved a dilemma and helped bring her creative vision to life.

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1. To start, could you introduce yourself to the audience and tell us a bit about your journey in the film industry so far?

 

Hi, I'm Dasol Jeon, and I work as both a filmmaker and actor in Korea. I didn't actually major in film - I studied English Literature in college, and my journey in entertainment began when I was discovered by industry professionals in South Korea, starting first as an actor. This led me to pursue acting at graduate school.

While studying film acting, I began to feel frustrated by the idea that actors are always in a position of 'waiting to be chosen.' This realization made me want to create something of my own, and that 'something' turned out to be filmmaking. Or perhaps, thinking back, I've always loved films since I was young, and maybe I chose acting as a way to be part of that world.

As I grew and matured, I found the courage to not only act in films but also to tell stories and visualize them. I felt confident that I could contribute more to filmmaking beyond just acting. That's what ultimately led me to become a filmmaker.

2. How would you define your style as a filmmaker? Is there a specific theme or approach that you feel is your hallmark?

 

Since I'm still in the early stages of my career, it's difficult for me to precisely define my own style. However, I place great importance on art direction and color schemes in my films. Film is, after all, a comprehensive art form. I've discovered that I'm particularly drawn to visual elements - it's like I'm learning about myself through the filmmaking process.

I notice that my films tend to incorporate elements of fantasy. I find it incredibly enjoyable to express the kind of imagination that can only exist in film and art. Perhaps because of who I am, I've noticed that my protagonists are always dreamers. I find myself creating stories that make the audience want to root for these characters - I suppose that reflects my own hopes and wishes.

3. Your film “I,doll” received numerous awards at our festival, Experimental Brasil. We would love to hear about the creative process behind this work. Where did the initial idea come from, and what were the biggest challenges you faced?

 

I actually have a habit of riding my indoor bicycle at home - I make sure to do it for at least 30 minutes every day. During these sessions, one of my routines is watching K-pop idol music videos. Then one day, a thought suddenly struck me: 'Aren't these K-pop stars in these music videos minors? They're clearly using sexual codes to make money despite their young age - am I the only one who finds this strange?'

It felt particularly jarring because their music videos are so glamorous and dopamine-inducing, and I myself was consuming this content while exercising. What felt especially dangerous was how the media sexualizes people and makes them consumable to the public. It's almost like media-sanctioned prostitution, in a way. This can unconsciously lead both the public and media creators to treat people as disposable - like they're dolls or objects to be used.

That's why I wanted people to feel a bit uncomfortable while watching this film - to become aware of these issues. I included sexual codes and drug-related metaphors to highlight this. The biggest challenge during production was casting. As a director with no previous directing experience making a short film, Korean people were quite conservative and reluctant to appear in it. Moreover, I felt conflicted about putting another actor in front of the camera while making a film that criticizes treating artists as objects rather than people. So I decided to act in it myself. Once I made that decision, the problem was solved! [laughs]

 

 

 

 

 

 

 

 

 

 

4. The official description of “I,doll” mentions a woman who goes to the place of her dreams, but finds something very different from what she imagined. Could you tell us a bit more about this premise and what it represents for you?

 

I believe every dream has both an ideal and a reality. In South Korea's idol market (what we call K-pop), acting, and performing industries, people tend to only see the glamorous and bright side. However, behind that facade, there are incredibly dark and difficult aspects. Artists are human beings too. They're workers. But in my opinion, they receive far less protection than people in other professions. Of course, I can say this because I'm an artist myself.

The public also seems to forget that artists are human beings. The prevailing opinion is that artists should just accept these hardships because they're famous and make good money. I really hope that we can all remember that they are 'people' too. I made this film with that sincere wish in mind.

5. I found it interesting how you chose to approach the theme of objectification of women who aspire to become models. What inspired you to tackle this subject from such a creative and vibrant angle, even during the film’s darker moments?
 

When I first started making this film, I wanted 'doll' (the protagonist) to be the only real human being in the story. This idea of being 'human' is a crucial theme in my film. I wanted to create a scenario where when this woman enters an unfamiliar space, she encounters beings that look human but aren't really human - that's how I came up with the mannequins.

While imagining this space filled with mannequins, I also thought of the dual meaning in the title 'I,doll' - playing with the word 'idol'. That's also how I came up with the idea for the vanity dolls in the opening sequence. I wanted the entire film to feel like one continuous music video, which led me to choose the silent film genre, and I wanted the art direction to be visually striking.My hope was for all these elements to come together as one comprehensive piece of art.

 

6. The cast of “I,doll” was notably outstanding. How was the process of selecting and directing the actresses? What were you looking for in terms of performance to tell this story?

 

Actually, as I mentioned earlier, the conservative nature of Korean society created a dilemma for me, especially since the film’s theme and my way of expressing it often clashed. That’s why I ended up taking on the acting myself—it was really challenging. However, the other two actresses are friends I’ve known for a long time; we attended the same school. They graduated from one of Korea’s most prestigious theater and film programs.

Since this film is silent, there was a risk that the acting might become too exaggerated, so we spent a lot of time rehearsing to ensure it stayed natural. We also rehearsed extensively for camera movements and blocking. There’s a scene near the end where red paint is splattered, and my fellow actors helped a lot to make sure it came together smoothly. Because we’ve known each other for so long, our chemistry on set was excellent.

 

7. The music in the film was chosen with great precision and complemented the narrative perfectly. How was the process of selecting the music? Did you work with a specific composer, or did you opt for pre-existing tracks?

 

I spent about three to four months traveling around Korea looking for the right music director. I even went as far as Busan, a city four hours from Seoul, but I still couldn’t find the music I had in mind. Then, through a recommendation from the sound team, I met a female music director named Ji-hye Kim.

When we talked, I was impressed by her deep understanding of the film and her extensive experience. When I listened to her music, it was absolutely perfect—exactly what I had envisioned. I was thrilled and so happy. We blended her ideas with mine seamlessly, and we even recorded live drums during the process. It was such an enjoyable collaboration.

Since then, she’s gone on to make her debut as a composer for a feature film. I’m really looking forward to working with her again in the future.

 

8. The cinematography of “I,doll” also received a lot of praise. Could you tell us a bit about your collaboration with the director of photography and how you created the film’s visual aesthetic?

 

Actually, the director of photography was someone I had always wanted to work with. It felt like fate. I was a huge fan of a short film they shot called Mild Fever, and I would often use it as a reference whenever I met other cinematographers. By chance, I got introduced to them, and I couldn’t believe my luck. I was so grateful that they agreed to work with me.

Their understanding and analysis of my script were incredible. They offered great interpretations and had a deep knowledge of lighting, which was crucial because some of the transitions in my film were particularly challenging. Thanks to their expertise, everything came together naturally and beautifully.

Honestly, there were some details I missed, but they captured them so well that I ended up using those moments in the final cut. I think they knew exactly what I had overlooked—laughs. I wanted to make sure that not only the cinematographer but all the crew members could effectively express their ideas. I didn’t want to insist on my way, especially since they’re experts in their fields, often more so than I am. I believe that’s how we were able to achieve the film’s visual aesthetic.

9. The film powerfully explores themes of identity and personal transformation. How do you see the relationship between these themes and the world of fashion and fame?

 

Actually, rather than focusing specifically on models and the fashion industry, I would say the film is more about artists and the media industry. With that in mind, I believe personal identity is crucial. A passive life without a sense of self inevitably leads to misery.

In this film, I portray the personal transformation of an individual. It shows how she overcomes moments of joy, pleasure, frustration, and pain, ultimately discovering her identity. Only then can she truly become an icon.

In my view, this story goes beyond just artists, the media industry, fashion, or fame. It’s a narrative that applies universally across professions and industries. Whether it’s in a corporate setting, where people strive to be selected through interviews, feel the highs of getting a paycheck or a promotion, yet face arrogance or betrayal—it’s all about overcoming challenges and surviving. In that sense, I think it’s a story that can resonate with any category of life.

 

10. “I,doll” plumbs the darker aspects of the dream of becoming a model. Do you believe that society still overly romanticizes this pursuit of fame, ignoring the sacrifices involved?

 

Of course. I think nowadays people are starting to talk more about the sacrifices that come with fame, but still, many don’t truly understand the darker side of it. That’s something I wanted to explore with this film. Wherever there’s light, a shadow is bound to follow. The brighter the light, the darker the shadow. Just like how waves go down before they rise up. But one thing we must never forget in all of this is that 'we should never treat people carelessly.' And we must also remember that 'fame without personal agency' can simply become a tool for someone else.

11. As a filmmaker, do you prefer working with detailed and planned scripts, or do you leave room for improvisation and exploration during the shoot?

 

Actually, I’m a very spontaneous person. I really enjoy those kinds of moments. However, on set, I feel like that’s not always possible. It makes me uneasy. I believe that spontaneous acting or exploration can be found during the preparation phase beforehand. If it comes up naturally on set, that’s great too. But if time and budget allow, I would love to embrace spontaneous moments. After all, filmmaking is about capturing the moment. If that moment is true, it doesn’t matter whether it’s spontaneous or planned. What matters is capturing the truth and the essence.

12. To wrap up, what are your upcoming projects? Is there anything new you're working on that you’d like to share with us?

I’m still preparing several things and there’s a lot I want to try. I’ve been steadily working on a feature film script as well. For my next short film, I’d like to tell the story of a short, chubby woman who dreams of becoming a senior model. I want to create a lovely, heartwarming story that’s full of love and warmth.

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