*Korean superstar Song Joong-ki takes on another international role in Bogota: City of the Lost, directed by Kim Seong-je. The film chronicles the journey of Kook-hee, a young Korean immigrant, as he ascends from poverty to become a crime lord in Bogotá, Colombia. Despite the intriguing premise, the film falls flat, lacking both the crime and drama essential for such a tale. Premiering at the 2024 Busan International Film Festival, Bogota has received a lukewarm reception, leaving its future uncertain.
Set in the aftermath of the 1997 IMF crisis, the film opens with 19-year-old Kook-hee (Song Joong-ki) arriving in Bogotá with his family, hoping to start a new life. Almost immediately, they are robbed of their savings, forcing them to fight for survival. Kook-hee’s father (Kim Jong-soo) seeks help from his old Vietnam War comrade, Sergeant Park (Kwon Hae-hyo), who has established himself in the garment trading business. Instead of helping Kook-hee’s father, Park’s boss hires the young Kook-hee, who quickly earns the nickname “Cookie” from the locals.
Kook-hee swiftly learns the language and navigates the black market, gaining favor in Park’s criminal empire. His rise sparks jealousy among rivals Lil Park (Park Ji-hwan) and Soo-young (Lee Hee-joon), who feel threatened by his success. At the same time, Kook-hee’s father spirals into drug use, abandoning his family. Despite this setup, Bogota fails to deliver the depth and tension expected from a crime drama.
One of the film’s major shortcomings is its inability to capture the essence of Colombia’s vibrant yet dangerous atmosphere. Despite being shot on location with the support of the Colombian Film Commission, the cinematography feels dull and lifeless. The lack of significant Colombian or female characters only adds to the film’s sterile and disconnected tone.
Kook-hee’s character, though positioned as the protagonist, lacks depth, making it difficult for the audience to connect with him emotionally. His rise to power feels hollow, with no real stakes or character development to draw the viewer in. The only other memorable character is his rival Soo-young, distinguished more by his moustache than his impact on the story.
Perhaps the most glaring flaw is the film’s failure to address narcotics, a central theme in most Colombian crime stories. The film’s avoidance of this topic, coupled with its simplistic “drugs are bad” messaging, underscores its lack of authenticity and willingness to delve into the complexities of crime. Bogota: City of the Lost ultimately feels like a missed opportunity—eager to emulate a crime saga but unwilling to embrace the gritty realities of the genre.
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