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Bong Junho��s <Mother> (2009) and Lee Changdong's <Poetry> (2010) lie in the two director's unique world as a representative film of each director. But they are controversial works worth to think together in terms of shaping of motherhood. The ways to solve its elements with different approach as well as with a common set are deserve to be compared.
The two films unfold the process which both old mother and grandmother confirm the truth concerning crime of their son or grandson. As for conclusion,<Mother> conceals her son's sin and grandmother of <Poetry> accuses her grandson's crime. In each movie, the victim leading to homicide or suicide by the kin of heroine is a girl. The heroine of <Mother> turned away from the girl in the end, on the other hand the heroine of <Poetry> shows the process which sympathized with the victim girl. These old heroines confront the male-dominated world. While Heaja of <Mother> shows the effort for intense adaptation, Mija of <Poetry> shows the process of quiet nonacceptance. From the overall flow of the above, the meaning and effect of the dancing in <Mother>and the poem in <Poetry>, both heroines' self-expression, appear differently.
While the dancing in <Mother> locks up her in the screen and arouses the realistic limit hard to combat, a poem which heroine of <poetry> left when she disappears out of the screen opens the way between film and audience and leaves ethical questions to change our society slowly.
You can find meaning of two films from the point of view that both contribute to broadening the question of motherhood as well as get away from the typical image of motherhood.