By Will Ripley, CNN
(CNN) — A North Korean film is captivating audiences with scenes and storylines they have never seen before in a state-approved movie.
In “Days and Nights of Confrontation,” a man is suffocated with a plastic bag. A particularly unlucky character is stabbed by her own husband, later injured after being struck by a car, and ultimately murdered. A suicide bomb vest appears on screen, its wires exposed. There is an extramarital affair and even brief partial nudity.
After drawing crowds in North Korean cinemas last year, “Days and Nights” reached a far larger audience this month when it aired for the first time on state television, signaling official approval of a film that breaks long-standing cinematic taboos in the nation’s state-controlled entertainment industry.
The identity of film’s producer – the Korean April 25 Film Studio, which is responsible for North Korea’s most ideologically significant films – makes its embrace of graphic violence and thriller-style storytelling especially notable.
“A character getting suffocated with a plastic bag…that’s something I’ve certainly never seen in a DPRK movie,” said Justin Martell, an American filmmaker who attended the Pyongyang International Film Festival last year.
The sexual content – tame by global standards, is also strikingly explicit in conservative North Korea.
“And I will say there was some partial nudity as well, which I’ve also certainly never seen in a DPRK movie,” he added, using the initials of the reclusive nation’s official name.
North Korean movies are typically experienced collectively. Audiences watch in packed theaters or at workplace-organized screenings in cultural halls, where reactions are visible and shared. Laughter, gasps and applause are not uncommon, according to defectors and foreign visitors who have attended such events. In that setting, a film designed to shock carries added weight.
The story is set in the mid-2000s and centers on betrayal, both personal and political, culminating in a plot to assassinate late North Korean leader Kim Jong Il – father of current leader Kim Jong Un – by blowing up his train.
Because of the tightly controlled nature of North Korean society, independent accounts from ordinary moviegoers are impossible to obtain. But none of this would have passed censorship standards even a decade ago. Yet “Days and Nights” was promoted as a prestige production and honored at the Pyongyang film festival with awards for Best Actor and Best Sound Effects.
The film is provocative, but not subversive. It exists squarely within North Korea’s rigid moral universe: betrayal leads to ruin; loyalty to the state is the only safe refuge. What is new is the delivery. The production values are higher, the pacing quicker, the style unmistakably modern. It borrows the visual grammar of Hollywood thrillers in ways North Korean cinema long avoided.
That shift may reflect a realization inside leader Kim Jong Un’s government about who its audience is becoming, and what it now takes to hold the attention of younger people.
Martell said North Korea’s domestic film and television industry had changed little for decades.
“For the last 20-25 years, DPRK film production – domestic film production and TV production – has been fairly stagnant,” he said. “With a lot of episodic material but fairly low-budget.”
“In recent years the government has gotten much more involved and put a lot of money into these new productions,” Martell said.
The storyline of “Days and Nights” closely echoes a real explosion in 2004 at Ryongchon train station near the Chinese border. At the time, North Korean authorities described the blast as an accident. Outside the country, speculation spread that it may have been an assassination attempt. Inside North Korea, the subject remained largely unspoken in public.