The early part of the twentieth century saw social change all around the globe. In Love, Lies, we are given a look into the modernisation of Korea in the 1930s and 40s, when North and South were still one and the Japanese occupation fixed their grasp on the subjected Korean individuals.
One residual remnant of the Joseon administration is the presence of the gisaeng; the female performer most nearly contrasted with the Japanese geisha. These ‘blooms that can talk’ are young ladies developed for their magnificence and ability in expressions of the human experience, who every so often went under the support – marriage and something else – of well off and critical backers. In the same way as other conventions of the past, the large numbers of gisaeng in Korea are blurring.