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In the opening sequence of this South Korean drama, a shot of a ladybird crawling on a child’s hand is interrupted by a splash of water from a passing car. This immediately sets the tone for the subsequent two hours of power struggles manifest in domestic abuse. July Jung’s first feature film is a powerful insight into Korean culture and social practice, however it risks alienating its audience due to excessive scenes of abuse.

Bae Doona (Cloud Atlas, Jupiter Ascending) plays police chief Lee Young-nam, who has been transferred to a quaint seaside town following a personal scandal in her former position. She is brought into contact with Sun Do-hee (Kim Sae-ron), who is being beaten and sexually molested by her alcoholic father Park Yong-ha (Song Sae-byeok). Complicating matters further is the fact that Yong-ha happens to be one of the largest employers in the town, meaning locals turn a blind eye to his abuses. Young-nam takes it upon herself to shelter the child for the duration of her time off school, at the risk of becoming a pariah amongst the locals.

The plot may be formulaic, but the interplay between the three leads is superb. The characterisation is rich, with all three shown to be deeply damaged individuals. “Why do you drink?” Do-hee asks her savior. “Because I can’t get to sleep,” is the answer. This has an unnerving parallel with the answer Yong-ha gives when asked the same question by a police officer: “Because it’s the only way I think.” The upper hand constantly shifts between Yong-ha and Young-nam, with Do-hee helplessly caught in the middle. The atmosphere of despair and feeling of being trapped never dissipates, compounded  by some of the borderline totalitarian practices of South Korean society that propel the second half of the film. All of this serves to strike a chord between the disturbing characters, dreadful social circumstances and sheer unpredictability that drives any good drama.

Where the film falters is in its excessive scenes of beatings and domestic cruelty. Initially serving to create sympathy for the girl, they soon veer into torture porn territory. By the second half of the film they have lost their impact and the only reaction invoked is disgust. The gratuitousness is particularly unfortunate as it is juxtaposed with action and dialogue that is, in general, first-rate.

A Girl at my Door is a decent first venture for Jung and a largely solid drama. However, if you have a weak stomach for graphic violence, do not bring popcorn.

A Girl At My Door is currently showing in the IFI.