CLOSE UP : Suzanne Kim

How did you cross paths with The Sweetshop?  And what makes us stand out, in your opinion? 

I’ve been a fan of The Sweetshop and its directors for a while. From the start, it felt like Sweetshop was interested in voice, not just visuals — and in building something thoughtfully. There’s a generosity in the way they approach the work, and a real respect for both craft and people. That combination’s pretty rare.

Tell us a little bit about your career path and how you ended up in the ad industry and embracing the short-form (or vice-versa).

I backed into advertising through documentary work. I’ve always been drawn to real people and real stories, and eventually realized the same emotional storytelling could exist in the commercial space too, just distilled. Short-form is such a fun challenge; it forces clarity, rhythm, and intent. It’s like making a tiny film with its own heartbeat and personality - the perfect playground of just enough chaos to keep it interesting. 

"Those shows gave us a shared rhythm, a sense of home. I didn’t realize it at the time, but those evenings planted the seed — that film could be a bridge."

What sparked your passion for filmmaking in general? 

As a Korean-Australian kid navigating the in-between, it was watching Korean dramas with my parents where my connection to film was born. Those shows gave us a shared rhythm, a sense of home. I didn’t realize it at the time, but those evenings planted the seed — that film could be a bridge. And later, watching Korean films, I saw how much power there was in emotional storytelling — honest, vulnerable, sometimes a little messy. It made me want to tell stories that could do that for others.

" I like to blend cinematic polish with a heartbeat — that’s the sweet spot for me." 

When did you realise you wanted to focus on Directing/commercial work? Is there a moment of inspiration you can point to where it all clicked?

It wasn’t one big “aha” moment — more like a slow, steady pull. I started noticing the kinds of ads that moved me, and I wanted in. The moment it clicked was probably during an early branded short, when I realized: oh, I can bring all my instincts — the listening, the nuance, the texture — into this world. It didn’t have to be one or the other.

Your style of storytelling is quite unique. How do you usually approach a piece of commercial work or even a pitch for one?

I start with tone. What does this need to feel like? Then I build out the emotional arc, visual references, and key scenes like a film. My doc background means I always want to understand the why — who we’re talking to, and what will actually move them. It keeps me honest and helps the work feel lived-in, not just styled-up. My background in doc and music vids taught me to find truth fast and make it sing visually. I like to blend cinematic polish with a heartbeat — that’s the sweet spot for me. 

What’s a filmmaking ‘rule’ that you love to break, and why? 

I like lingering. Sometimes a shot just needs to breathe past where it’s “supposed to.” That extra few seconds can hold something ineffable.

And finally, when you’re not in the director's chair, what do you love to do when you’re not working?

Cooking (and eating), visiting bookstores, I definitely don’t need more books from. I love wandering  — especially in unfamiliar cities — and I have a soft spot for obscure film scores, and I’ve got a low-key addiction to Korean tofu stews (don’t judge me).