Capitalism and social class go hand in hand, unavoidable constructs of a system that fails the working class while rewarding the upper class. Possible Love the latest film from South Korean auteur Lee Chang-dong, takes a more meditative approach to capitalism and class than No Other Choice. Still, Chang-dong delivers a film with the same haunting, profound impact, resulting in a masterful work.

Two years ago, Ho-seok (Sul Kyung-gu), a labourer at the company SP, was let go during a restructuring. He and his wife, Mi‑ok (Jeon Do‑yeon), along with the union, fought to regain his job and the jobs of many other workers, but they remain unemployed. One day, while attending a funeral, they meet documentary filmmaker Ye-ji (Cho Yeo-jeong), who hopes to make a film about the displaced workers. As she and her businessman husband, Sang‑woo (Zo In‑sung), become involved, the lives of the two families begin to intertwine, and tensions slowly rise.

The working and upper classes, and how they shape capitalism, sit at the forefront of the film. In a metatextual flourish, Chang-dong, along with Kim Ji-yong’s subtle cinematography, uses the medium itself to deepen the film’s underlying themes. Prompting us to question whether we’re watching events as they unfold or seeing footage captured by the in‑film documentary crew. As the film progresses and those boundaries blur even further, the exploitative nature of the documentary becomes increasingly noticeable.

Ye‑ji, played expertly by Yeo‑jeong, is the perfect embodiment of a capitalist, a filmmaker who seeks external funding for her project despite the fact that her husband could easily finance it himself. She wants to be seen as part of the working class, yet she wears outfits and carries handbags that likely cost more than many people’s monthly wages. Even more now in 2026, we see countless people exploit the working class despite never having struggled a day in their lives, while they sleep comfortably in their beautiful, million‑pound homes.

Her husband, Sang‑woo, played by the always‑wonderful In‑sung, even calls her out, going so far as to say she’s method acting. Despite her repeated pleas that she wants to love the workers and befriend them, why is every meaningful conversation she has with them conducted on the record? Ho‑seok and Mi‑ok stand in stark contrast, striving for justice and change within a system designed to protect the interests of millionaires. Yet the film also explores another uncomfortable truth: the desire for our children to break through the class divide and rise above the working class, even as we critique the very structures that make such divides possible

Mi‑ok, played by Do‑yeon in a standout performance, recalls a moment from her childhood when her mother scolded her for helping with her car‑wash job. As you grow older, you realise that parents will do anything to ensure their children have a better life than they did, including a better job and a higher social class. Chang‑dong explores whether people can break out of these cycles or whether they are trapped in a perpetual loop they can never escape.

The true powerhouse of the film is Kyung‑gu, delivering one of the year’s finest performances. He is a broken man, struggling to find purpose again after the strike proves ineffective. In his eyes, the world has become cold and empty, a place where nothing can be done to challenge the powers above. If a strike won’t get his job back, what will? The moments when his emotions fully take over are among the film’s standouts, yet they also lead to scenes of quiet horror when you notice that red recording light still blinking.

The title Possible Love can mean many things. Is it possible to love again, to love someone despite never experiencing their struggle, or to unknowingly love capitalism? Its meaning shifts depending on how you approach the film, and that’s what makes it so powerful. It’s a work so nuanced and layered that even after a single viewing, it feels as though there is still much to uncover.  Possible Love is truly a masterpiece.

★★★★★

Had its North American Premiere at the 2026 Toronto Film Festival / Having its UK Premiere at the 2026 BFI London Film Festival / Sul Kyung-gu, Jeon Do‑yeon, Cho Yeo-jeong, Zo In‑sung / Dir: Lee Chang-dong / Netflix

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