Showing posts with label Kim Ki-duk. Show all posts
Showing posts with label Kim Ki-duk. Show all posts

Wednesday, 24 June 2015

Möbius.


Can a man have an orgasm without a penis? Probable something most families will be discussing over the dinner table tonight, far-fetched, not if they have recently seen Kim Ki-duk latest movie. An exceptional piece of work with a narrative that navigates a path which most other filmmakers would fear to tread.  
 
Mother.
Almost 55 years old the South Korean director/writer shows no sign of mellowing his film making skills. Following the brilliant Pieta (2012) - a film which mixed Christian symbolism and highly sexual content, which depicts the mysterious relationship between a brutal man who works for loan sharks and a middle-aged woman who claims that she is his mother - with a movie that’s equally as intense, bloodthirsty and sexy.  Mobius (2013), which was initially banned in South Korea, before the Korea Media Rating Board reviewed the film and changed the rating, starts with a row between mother and father about who should answer a ringing mobile phone, mother is aware that its fathers mistress calling him!  Following the embittered dispute that follows mother retrieves a knife kept under the Buddha statue in the family’s front room and attacks her husband attempting to part him from his penis, when this fails she turns on her teenage son who she has just caught masturbating and manages to part the lad from his manhood, eating the severed genital in front of both her husband and son. Obviously the father feels guilty and dumps his mistress who then takes pity on the son and gets raped for her trouble. Meanwhile the father spends his time searching the Internet to see if it’s possible for his son to have a transplant but of course he will need a donor!
 
Father.
In an introduction made for the Terracotta Film Festival Kim Ki-duk assures us that “there is a
message behind this intense, bloodthirsty and sexy film which is meant to bring out all that is human, desire, family and sex, and to show all human existence is connected with each other and that the personal and society are also connected together by sex”. Described by the director as having quite shocking and cruel images (which I would not argue with!) that are used to deal with the essence of desire and the sort of anger that humans possess. He admits that watching the scenes in the film will be painful and hard for the viewer but insists that you should look beyond that and see the message he intended!
 
Mistress and Son.
Although the movie does have a script it is completely void of dialog, its not a silent film with its emotional grunts and groans, it’s just that no one actually speaks - some thing that you will fail to notice once the story begins to unfold! It stars Kim regular Jo Jae-hyeon as the father; Seo Yeong-joo-I, who at sixteen years old is to young to see the movie, plays the challenging part of the son who the director first saw in Juvenile Offender (2012), which in turn led to him being offered the role. The same actress, the wonderful Lee Eun-woo, plays both mother and mistress. All three are totally convincing as are the supporting cast.  Even though it received many distinctions in the festival circuit it shamefully did not get a full UK distribution when released on the 8th August 2014. Described as ‘a most inventive and intriguing film’, ‘enjoyably perverse’, and ‘an Oedipal fairy tale’ - ok maybe not to every ones taste but those of you who are Kim Ki-duk devotees or perhaps just like watching something different must see this joyously amusing film now available on DVD. 


Friday, 13 December 2013

Pieta.


An ugly story and one that shows no compassion, a very difficult watch at times .... but must be seen!


Winner of the Golden Lion at the 2012 Venice Film Festival Pieta (2012) is South Korean director Kim Ki-duk 18th film. Previous work includes The Isle (2000), Bad Guy (2001) Spring, Summer, Fall, Winter and Spring (2003) and 3-Iron (2003) all are well worth a re-visit.
 
Nothing more to lose!
When the film opens we observe a young man in a wheelchair hooking a metal lifting chain around his neck, he presses a button and the chain tightens lifting him out of the chair leaving his trainers on the ground. We then move to a different part of the semi derelict industrial slums of the Cheonggyecheon district of Seoul. There we find another young man in bed having what appears to be an erotic dream, he wipes himself when his mobile phone alarm goes off, gets up and dress’s for work. Lee Kang-do (Lee Jung-jin) is a debt collector for a loan shark working a scam that if the clients can’t pay he will permanently cripple them and forces them to pay the money from an insurance they were obliged to take out to get the loan in the first place. Kang-do is a nasty character very handy with a knife that does not flinch at permanently maiming the inhabitants that populate these small machine shops that they barely scape a living from, the deed is normally carried out in front of a wife or mother.
 
'Mother' and .......
Then one day a woman turns up and claims to have abandoned him at birth 30 years previous, but he is not convinced that this person is his mother. He sets her a series of tests that he says will prove if she is the person she claims to be. Cutting a piece of flesh from his own body he makes her to eat it. Although gagging she manages the task, still not convinced he brutally rapes her. Gradually he comes to believe the respectable looking women (Cho Min-soo) and accepts her as his mother. The relationship develops and Kang-do’s prospective on life begins to change even to the extent of allowing one of his clients to play his guitar one more time! But one afternoon she disappears and Kang-do panics.
 
.....and Son.
The strange pitiless tale only then begins to unfold and only then do we realise that this once unfeeling young man now has a weakness: his mother, which makes him for the first time in his violent life venerable. Kim Ki-duk story is not about the evils of man but the evils of money in an area of Seoul that must be demolished for developers leaving ordinary hard working people without a home and the means of earning a living. According to Roger Clarke[1] the title Pieta is a Renaissance art history term referring to images of Mary cradling the dead body of her dead son, but literally means pity. And it’s a pity that more people will not take advantage of this courageous film director work. 




[1] Roger Clarke Sight and Sound.