「恨」的概念
本片標題的「恨」（han）是韓國特有的概念。這是中文字「恨」的韓語發音，意思是憎恨。對韓國人而言，這是一種尚未接受贖罪或尚未解決的創傷，對個人造成身心上的不適感。
恨可能有其歷史來源，部分學者認為源自韓國在日佔時期歷經的創傷。
編導朱哲宇創作本片，探討正義及懺悔的沉重主題。
劇介
資深電視演員朱厚任飾演一名父親，他的兒子車禍肇事逃逸。他踏上前往韓國的贖罪之旅，以家長對家長的立場，祈求死者父親的原諒。本片質疑何謂贖罪，何謂赦免。上門道歉，就能夠原諒一切嗎？如果來者是罪人的使者呢？
《贖與罪》背後的想法：
當初我只是想出國拍電影，現在我不會建議別人這麼做，除非情節必要，否則不需要出國拍片。從這點來看，我們等於倒著做事。做為一個人和一名電影導演，我有一些情感和想法想要表達，我有幸能夠在這部片實現並傳達關於愛與寬恕的觀念。我想在跨越國界的背景訴說這個故事。拍攝《贖與罪》的過程中發生許多神奇的事，這部電影對我幫助極大，在全國青年影片獎獲得最佳導演，對我來說是極大的鼓舞。本片也獲得了電影攝影藝術國際影展傑出攝影獎，我也因此得到英國國家電影電視學院入學機會，並獲得了獎學金。這是一次很好的體驗，不僅僅在拍片方面。我們碰上很多挑戰，但是團隊合作無間，好一段時間都沒遇到無法解決的問題。我們一直在努力。
編劇/導演：朱哲宇
製片：莎米膩
演員：朱厚任（新傳媒資深演員），鄭開懷，金貞秀，申英珍
影展與競賽：
本片贏得多個獎項，包括2016年新加坡全國青年影片獎最佳影片：
2016年新加坡全國青年影片獎最佳影，和最佳導演
2016年新加坡全國青年影片獎，最佳製作設計獎
2016年電影攝影藝術國際影展傑出攝影
2017年第12屆日惹奈派克亞洲電影節
2017年齋浦爾國際電影節
2017年克利夫蘭國際電影節
2017年亞洲短片電影節
德黑蘭國際電影節
盧賓國際電影節
《贖與罪》製作設計靈感來源：
茱莉：角色之間情感衝突以及不同角色對照方式給我許多啟發，例如韓國父親與新加坡父親，年長父親與年輕的兒子。空間、佈景、道具和衣櫥等視覺元素有助於反映這種平衡感（或不平衡感），取決於角色是否走在自我發現及和解的路途中。美學上而言，我們試圖模仿愛德華霍普畫作裡的平衡與不平衡，以及傳統韓國電影風格。
《贖與罪》的靈感：
朱哲宇：恨代表一種懸而未決的韓式悲痛，一種無可名狀的悲傷狀態，來源就是韓國社會所經歷的艱困歷史。我對這個心態很感興趣，我去過韓國兩次，覺得很能體會「恨」的概念，因此想拍一部相關的電影。
花絮：
導演朱哲宇是演員朱厚任的長子。
影評：
當鏡頭靜靜地觀察朱厚任的演出，就是全片最光彩奪目的時候。這位資深演員精彩詮釋一位受困但堅忍不拔的父親，一個眼神就傳達了說不盡的懺悔。
朱哲宇撰寫的《贖與罪》是一部關於悲傷、懲罰和寬恕的佳作。片中不提供辯解或譴責，而是游移在兩者之間，取代了極端，向同理心致意。
The concept of ‘HAN’
The concept of ‘Han’ referenced in the film’s title is a uniquely South Korean notion. It is the Korean pronunciation of the Chinese word 恨, which means hate; To the Koreans, it refers to a lingering sense of un-avenged wrongdoing or unresolved trauma that may psychosomatically trigger physical sensations of nausea or discomfort.
Its origins are possibly historical, theorized by some scholars to have emerged as a hangover from South Korea’s experience under Japanese occupation.
This film from writer-director Jonathan Choo grapples exactly with the weighty theme of justice and penance.
Synopsis
Veteran TV actor Zhu Houren playing father to a damned son, whom in a fit of panic, flees the crime scene after a hit-and-run. Zhu’s character embarks on a pilgrimage to Korea to seek out the deceased girl’s Father, seeking forgiveness, parent to parent. The film poses pertinent questions on atonement and absolution; when is an apology enough to explain away a life and does it matter if it’s the sinner’s messenger that comes knocking?
The idea behind HAN :
I initially just wanted to go overseas to make a film, which now, I would tell people is not a good way to start. There is no reason why you should go overseas if your story does not require it. We worked backwards in that sense. There was an emotion and a broad brushstroke idea that I was trying to express as a human being and filmmaker. That ultimately culminated in the film itself, with the idea of love and forgiveness. I wanted to do it in a dual, cross-boundary landscape. Many magical things came together and fell into place for HAN.
The film did much good for me because it was sent to NYFA and won Best Director, which was a huge encouragement for me. It also bagged the Notable Cinematography award at Camerimage as well. It helped me get a place at the National Film & Television School (NFTS) and a scholarship too. It was a good experience, more than just making a film. There were many challenges. but my team pushed together so well, that we never felt stuck at a problem for a long time. We just kept pushing through.
Writer/Director: Jonathan Choo
Producer: Shammini G
Cast: Choo Houren (veteran Medicorp actor), Winstar Tey, Kim Jung Soo, Shin Young-Jin
Festivals and Competitions:
It has won multiple awards including Best Pic at SG National Youth Film Awards 2016:
Best Picture and Best Director, Singapore National Youth Film Awards 2016.
Best Production Design, Singapore National Youth Film Awards 2016.
Golden Tadpole (Notable Cinematography), Camerimage 2016.
12th Jogja-NETPAC Asian Film Festival, 2017.
Jaipur International Film Festival 2017.
Cleveland International Film Festival 2017.
Short shorts Film Festival and Asia 2017
Tehran International Film Festival
Lubin International Film Festival
Inspiration behind the production design of HAN:
Julie: For HAN, I was really inspired by the emotional conflict between the characters, and the way the characters are in contrast to one another (like the Korean father vs. the Singaporean father, or the Elderly father vs. his Young Son) and visual elements like the space, sets, props and wardrobe help reflect this sense of balance (or imbalance), depending on where the characters are on their journey to self-discovery and reconciliation. Aesthetically, we tried to emulate the balance/imbalance of Edward Hopper paintings, or more traditional Korean Films.
Inspiration behind HAN:
Jonathan: Han stands for unresolved grief in Korean and it's an inexplicable state of sadness that the people go through in Korea, mainly because of the tough history they've gone through. this state of mind really fascinated me and I been to Korea a couple of times, I felt like I could relate to this idea of Han and wanted to make a film about it.
Trivia:
The Director, Jonathan Choo is the older son of actor Zhu Houren.
Reviews:
The film shines when the camera sits and observes, allowing Zhu’s performance to breathe. The veteran delivers an embattled performance, biting and gritting; the drop of his eyes conveying an ocean of attrition.
