Kim ki duk the isle ending a relationship

Interview with Kim Ki-Duk • Senses of Cinema

kim ki duk the isle ending a relationship

film review THE ISLE (Seom) Korean movie by Kim Ki-Duk with Jae Hyun Cho, Hang-Seon Jang, Suh Jung, Yoosuk Kim written by Kim Ki-Duk. This is, I think, a parable for male-female relationships in general. So often, women have to help the ending of the ISLE -- spoilers?? from E Lim, Oct 20, Re: ending of the . With Kim Ki-duk's Pieta hitting iTunes and VOD this month, now seems the films like The Isle (), Bad Guy () and The Coast Guard (). that recur throughout Kim's work: sparse dialogue, dysfunctional relationships, When a highschooler's efforts to prostitute her best friend end in tragedy. They develop what on this lake passes for a relationship, but then he tries suicide again (you might want to stop reading now) by Ki-Duk Kim.

She has a wonderful time with him at the sculpture park, but he remains tied to Seh-Hee. I'm not sure what she wants him to say when she asks what he'd do if Seh-Hee came back? Does she want him to say she's over the old her, fully in love with the new one, or would that in fact validate the very fears that motivated her to get plastic surgery in the first place?

Basically, neither answer is good and there's no way for her to be happy, because telling the truth would make Ji-Woo think she's insane. And that's what happens in the fabulously bizarre scene where Seh-Hee goes to see him with the mask on.

Thoughts on Stuff: Kim Ki-Duk's Bad Guy

That mask was very freaky, the sort of lo-fi, but deeply disturbing scare that Lynch put to great use in Inland Empire. This film is the turning point of the film, where our perspective switches from Ji-Woo's to Seh-Hee's. The parallel structure is nice, with Seh-Hee now forced to experience the same frustration and uncertainty that Ji-Woo did in the film's first half.

I'm not sure why he chose to get surgery, I suppose it's primarily to punish her for what she did. At this point, Ji-Woo disappears from the story and we experience Seh-Hee's pain. Here, Seh-Hee sees the folly of her plan, she condemned Ji-Woo for looking at some women, but now she looks at every man, thinking that they could be the one she loves. Visually, the film is less expressive than Kim's best work, his films about mute characters require incredible visuals to tell the story, here dialogue does more of the work.

That said, there are still some great moments. I love Seh-Hee sitting on the hand, just above water, as well as when she lies down next to the statue. The whole story leads up to a horrific act of violence.

In Kim's films, violence is frequently the only means through which characters can express their emotions.

The Cruel Beauty Of Kim Ki-duk | guiadeayuntamientos.info

Here, the death of someone who might be Ji-Woo indicates to Seh-Hee the full folly of what she did. She so despises herself, she again seeks to escape into the anonymity of a new identity. This leads us back to the film's beginning, in a seemingly illogical narrative loop.

kim ki duk the isle ending a relationship

How could Seh-Hee bump into herself from the future? I would aruge this, like many Kim conclusions, makes sense from a psychological perspective, not a literal one.

kim ki duk the isle ending a relationship

Earlier, when Seh-Hee sits down at a man's table, she seems to initiate a similar loop as the one that led to her own plastic surgery. So, jealousy becomes a vicious cycle, perpetuating itself ad infinitum. She bumps into her future self, setting up the idea of plastic surgery in the first place. Ultimately, the film is saying that plastic surgery doesn't change anything.

The Cruel Beauty Of Kim Ki-duk

Because the same person is underneath, we'll still be trapped in the same behavioral loops. The ending makes this literal, she can change her appearance, completely dissolve her identity, but she can't change the person inside. As the Asia Extreme phenomena exploded at the dawn of the new millennium, Kim rode that wave West with sexually charged and brutally violent films like The IsleBad Guy and The Coast Guard Attentions turned to South Korea as the next hotbed of Asian Cinema, and despite often distancing himself from his fellow countrymen due to his lack of formal training, Kim helped boost the Korean industry on the festival circuit.

Not only did this period see Kim produce the best work of his career, he won Best Director awards at both Berlin and Venice in — for different films.

After a succession of poor business deals, things came to a head on the set of Dreamwhen lead actress Lee Na-yeong nearly died while shooting a scene in which she is hanged. For a while it looked like Kim would never work again. It was three years before Arirang emerged inand the reception was less than rapturous. Cannes awarded its Une Certain Regard prize to the self-reflexive, one-man documentary, in which Kim locks himself in a remote cabin and goes all Captain Willard, drunkenly berating those who betrayed and cheated him.

But then came Pieta. However he often explores notions of faith, forgiveness and redemption too. Pieta marks a powerful reappraisal of many of these themes, and in doing so marks a triumphant and - to his fans, reassuring - return to form.