Gakjil (Persona)

With the word Persona originating from Latin, where it initially referred to a theatrical mask, Sujin Moon’s animated short sets expectations before we even hit play. An animated film with a strong festival reputation (Annecy, Cannes & more), Gakjil (Persona) follows a young girl who slips into an exaggerated outer skin before any social interaction, delving into themes of beauty standards, identity and societal expectations.

From the outset, Persona is an unsettling watch. With the protagonist first introduced in a striking scene, washing her outer skin in a bucket, we’re immediately presented with a surreal image that intrigues its audience. As the film unfolds, Moon weaves in its core themes, following the girl as she interacts with her phone, examines herself in the mirror, and navigates social encounters. Moments of humour punctuate the escalating narrative, blending with the film’s dreamlike visuals to leave a lasting impact – both visually and thematically.

The opening scene from Persona sets the tone for the rest of the film.

It’s a short that could sell itself on its visual moments alone. We often have trouble choosing a strong featured image to use in our SotW posts – one that represents the film perfectly – but with Persona I was spoilt for choice. The opening frame is a strong contender, yet so many striking moments follow: the giant face looming at the window, the woman on the bus with her outer skin peeled back, the bodies dripping from the tap. Each image is arresting enough to make anyone curious about this film.

It’s all the more impressive to learn that Moon single-handedly animated the entire seven-minute film over three “exhausting years”. Yet Persona is far from style over substance – it carries real weight. While the idea of inner and outer personas isn’t new, in an age of social media and ever-evolving beauty standards, its themes feel more relevant than ever.

The ending, in particular, lingers in the mind. As the protagonist’s inner and outer selves switch places, we’re left to question whether Moon – and by extension, we as her audience – sees this as a choice more and more people are facing in modern society. Do we don a theatrical mask and perform, or do we allow our true selves to shine?