Review: BEAUTIFUL Explores the Ugly Depths of Desire

By Pierce Conran

Beauty and obsession go under the knife in Juhn Jai-hong’s debut Beautiful (2008), a clinical observation of desire that was both produced by Kim Ki-duk and based on his original story. Lensed with a scopophilic yet detached gaze, it is more than a little reminiscent of the controversial auteur’s body of work.

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Review: HUMAN, SPACE, TIME AND HUMAN aka Rape: The Movie

By Pierce Conran

The work of Kim Ki-duk has been contentious for many reasons over the years, with the rampant misogyny that permeates his films being a particular bone of contention amongst critics. His most recent outing doesn't so much add fuel to that fire as drop a bomb on it. Featuring rape at almost every turn, Human, Space, Time and Human is what happens when you feed an ego and allow its pathological violence to go unchecked for two decades. Savage chauvinism aside, Kim's latest is also a puerile and repetitive film from a voice that has long since given up trying to say anything worthwhile.

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Review: THE NET Is a Simple Catch from Kim Ki-duk

By Pierce Conran

Complex issues get a facile treatment in The Net, the latest work from Korean provocateur Kim Ki-duk. More coherent than his last two outings but a far cry from his best work, Kim's film comes off as little more than a simplistic sermon brought to life through routine indie specs.

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Top 10 Korean Contenders for Cannes 2015

By Pierce Conran

Guessing what films might go to Cannes is a bit of a fool's errand, but as those go, it can be a fun one. Korea doesn't always get features selected (though it has its fair share of award wins) yet, in the months leading up to the fest, people in the local industry often like to speculate about what might make the lineup.

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Busan 2014 Review: Kim Ki-duk Off His Game With ONE ON ONE

Part of MKC's coverage of the 19th Busan International Film Festival

By Pierce Conran

Enfant terrible Kim Ki-duk returns with his 20th feature One On One, opening the Venice Days sidebar this year with an uncharacteristically plot-and-character-heavy offering. With an overt social agenda and a familiar revenge narrative, the film appears to be primed for a larger audience than much of the divisive cineaste's work. But with a rushed production schedule and comparable lack of poetry (however gritty) and wit than his previous efforts, it proves to be one of the director's least satisfying outings.

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Review: RED FAMILY's High Concept Suffers From Stilted Delivery

By Pierce Conran

Though as a theme it has spawned some of Korean cinema's biggest hits, including Shiri (1999), Joint Security Area (2000), Silmido (2003), Taegugki (2004) and Welcome to Dongmakgol (2005), the representation of North Korea on screen has always been a thorny one. It's a sensitive topic that is consistently affected by ebbing political tides. Though many different styles of narrative crop up relating to the Korean republic's Northern neighbor, those that have been most palatable to the public have featured themes of camaraderie across the demilitarized zone, films that stripped characters (mostly soldiers) of their ideologies and showed them for what they really were, which is of course people that are not all that dissimilar from one another.

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Review: Love and Adolescence in Kim Ki-duk's The Bow (2005)

By Hieu Chau

Up until now, it would appear as though Kim Ki-duk’s films could easily be placed into one of two different categories – one for his extreme features and the other for his sensitive works. His 2005 film, The Bow most certainly fits into the latter alongside some of his best critical successes such as Spring, Summer, Autumn, Winter… and Spring (2003) and 3-Iron (2004) as it too is a contemplative piece that retains much of Kim’s signature brand of wistfulness. Never one to shy away from tough subject matter, The Bow, when compared to a lot of his recent films, is a lot tamer both in terms of violence and sexual imagery. Given Kim’s track record for provoking audiences with his patented obsession with faith and morality, The Bow, while clearly peppered with religious iconography, doesn’t seem to be all that interested in using its themes as a means to frame a story. Instead, The Bow is, for the most part, a coming-of-age drama, one that tells the sexual awakening of a young girl and features aspects of teenage rebellion – a mutual ground for most coming-of-age dramas. Of course, being that this is a Kim Ki-duk film, this coming-of-age drama is skewed towards extremely artistic territory.

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Review: Pieta - What Does It Matter as Long as a Boy Loves His Mother?

By John A. Riley

A cavalcade of joyless masturbation, even more joyless coition, animal entrails splattered across the tiled floor of a bathroom, mutilation and misogynistic violence. And that’s just the first ten minutes of Kim Ki-duk’s 2012 film Pieta. Set in a grimy industrial area of Seoul, it deals with Kang-do, a brutal debt collector who meets a woman claiming to be the mother who abandoned him in childhood. Together they begin a deadpan, incestuous parody of domestic life together. This newfound love melts Kang-do’s heart, exposing his deeply-hidden vulnerability and leading to a visceral and tragic conclusion.

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Busan 2013 Review: Moebius Is Insane and Brilliant

Part of MKC's coverage of the 18th Busan International Film Festival.

Kim Ki-duk has shocked many a festival/arthouse audience over the years, ever since he used fishhooks to terrible effect in The Isle (2000). Watching his films can be an uncomfortable experience and while he has perhaps gone overboard in the past, he's never been outrageous just for the sake of it. Spectators, for their part, have steadily become more drawn to his works. With his new feature Moebius, never has he so deliberately sought to shock them. His message, framed in a terrifying and morbidly humorous narrative that recalls the tropes and themes of Greek tragedy, is clearer than it's ever been. It's also never been quite this powerful.

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The Isle (섬, Seom) 2000

(by refresh_daemon)

The Isle is the first film I have seen by the prolific Kim Ki-duk. It's a film that's light on plot, but heavy on conflict and angst and that results in a rather slow moving film, but one fraught with enough tension to drive patient moviegoers to its conclusion. What's particularly interesting about the film is how limited the communication is; characters have little dialogue and yet the struggle, especially for the main characters, is to connect, despite their personal problems. That said, the male protagonist is a little weakly drawn and there are also some moments that weaken the film's credulity, but I found the tension and internal conflicts of the characters and how they impact their interactions compelling.

In The Isle, a taciturn woman with a cruelty streak, Huijin (Seo Jeong) runs a set of fishing floats on a lake that are rented out to people looking to get away and fish for a bit or possibly hide from the law. In addition to selling them fishing supplies, she also makes a little extra money by selling her body to some of the fishermen. A new guest, the sullen and withdrawn man with a past, Hyeonsik (Kim Yu-seok), arrives and ends up drawing Huijin's attraction. However, when a local call girl who frequently does business on the lake also develops an attraction to Hyeonsik, Huijin's sadism and ability to relate come to a boil.

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Tallinn Black Nights Film Festival Reveals Korean-Heavy Program

The Black Nights Film Festival (PÖFF) is coming back for its 16th edition, which will run November 12-28 in Tallinn, Estonia. Originally a showcase for Nordic film, PÖFF has grown to become one of Europe's largest and most varied film festivals, and of late they have been very kind to Korean cinema, with 2012 proving to be no exception.

Jeon Kyu-hwan's The Weight, which won the Queer Lion Award earlier this year at the Venice International Film Festival and has also screened at the Busan International Film Festival and Sitges Film Festival, will take part in PÖFF's 'EurAsia' competition section, which last year awarded its main prize to Ahn Hui's A Simple Life. Jeon's first three films, the trilogy comprising of Mozart Town (2008), Animal Town (2009) and Dance Town (2010), all previously screened at Black Nights.

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KCN: BIFF Gets Ready to Take Offf (09/27-10/03, 2012)

KOREAN CINEMA NEWS

Vancouver and London Pay Attention to Korean Queer Film
White Night directed by Leesong Hee-il, who once caught attention with No Regret, has been invited to the Vancouver International Film Festival and the London Korean Film Festival. 6 years after he proved the possibility of Korean style queer film with No Regret, he made a new film White Night, which will be screened at the Dragons and Tigers section of the 13th Vancouver Film Festival (September 27th ~ October 2nd) and the 7th London Korean Film Festival (November 2nd ~ 23rd). (KoBiz, October 2, 2012)

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Yeonghwa: Korean Cinema Today 2012 - Ideological Barriers and Invisible Borders in Poongsan (풍산개, Poongsangae) 2011

Part of MKC's coverage of the 3rd Yeonghwa: Korean Cinema Today event at NY's Museum of Modern Art. (previously published).

Kim Ki-duk is one of the filmmakers who initially drew me to Korean cinema.  The first film of his I saw was The Isle (2000), which was, in a French DVD edition, packaged together with Lee Chang-dong’s Peppermint Candy (1999).  While the films may have been very different they were also a fantastic double bill that complemented each other in many ways.  I wasn’t as shocked by the violence as I may have been because I had already seen Park Chan-wook’s Sympathy for Mr. Vengeance (2002) and before dipping into Korean cinema, had more or less exhausted Takashi Miike’s catalogue up until that point (around 2003).

Park’s film, while harrowing, was a pure piece of cinema brimming with adrenaline and the pure pleasure of filmmaking.  Lee’s poignant drama was elegant, realistic, literary, and propelled by social issues and recent Korean history.  Kim’s effort was slow and laconic, it was violent while at the same time elegiac.  The Isle had an artist’s touch and was unlike anything I’d seen before, just as the previous two films were.  Indeed I was very lucky to have selected the three Korean films that I did as my introduction to the nation’s cinema, the hooks were in deep from the start.

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KCN: A Bittersweet Life Gets US Remake, Pieta Sales and a Boatload of Posters (09/20-09/26, 2012)

It's been a very busy week here in Korea as I'm switching jobs, moving, preparing for Busan and have lost my phone so apologies for the slower pace of articles and this abbreviated version of Korean Cinema News. 

KOREAN CINEMA NEWS

A Bittersweet Life to Be Remade, Albert Hughes Takes the Reigns
One half of the directing duo behing Menace II Society, From Hell and The Book of Eli, Albert Hughes, is set to direct a fast-tracked remake of the seminal Korean gangster film A Bittersweet Life. Anthony Peckham, recently behind Invictusand Sherlock Holmes, has been brought in to polish the script. No word yet on cast or possible release date.

There's been a awful lot of news surrounding Korean films being remade in Hollywood or Korean directors making their mark in Tinseltown lately but this is one development I can't get excited about. I'm generally not a fan of foreign films being remade (much less Korean ones) so I'm not one of the people who is excited for Spike Lee's take on Oldboy. However, I do recognize the potential that such an original premise has in a new market. The same goes for the upcoming remake of Castaway on the Moon, one of the very best films made in the last decade. Last I heard, Mark Waters (of Mr. Popper's Penguins fame) was at the helm, and while I don't think that'll amount to much I do concede that it is property with a fantastic premise, ripe for the remake treatment.

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KBO: Masquerade Is King, Pieta Enjoys Golden Lion Bump (09/14-09/16, 2012)

Masquerade Is King, Pieta Enjoys Golden Lion Bump 

	Title	Release Date	Market Share	Weekend	Total	Screens
1	Masquerade	9/13/12	53.30%	1,097,619	1,278,064	809
2	Resident Evil 5 (us)	9/13/12	14.30%	245,915	304,150	368
3	Pieta	9/6/12	7.20%	148,163	353,379	325
4	The Bourne Legacy (us)	9/6/12	6.50%	135,767	913,877	345
5	Traffickers	8/29/12	4.60%	92,289	1,534,579	305
6	Wolf Children (jp)	9/13/12	3.40%	77,796	85,933	225
7	The Expendables 2 (us)	9/6/12	2.50%	53,444	416,236	253
8	Neighbors	8/22/12	2.00%	40,285	2,416,188	222
9	The Thieves	7/25/12	1.50%	32,033	12,923,537	194
10	Insidious (us)	9/13/12	1.30%	27,488	35,030	178

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KCN: Kim Ki-duk Wins Historic Golden Lion and Busan Unveils Lineup (09/06-09/12, 2012)

Big week for news as Kim Ki-duk scoops up the Golden Lion and BIFF unveils its programme! Much more besides including the promotional material for The Perfect Number, the Bang Eun-jin thriller based on the Keigo Higashino novel 'The Devotion of Suspect X.'

Venice

Kim Ki-duk's Pieta Takes the Golden Lion at Venice Film Festival
It has been extensively reported at this point but it's wonderful to hear that Kim Ki-duk's Pieta took the Golden Lion at this year's Venice Film Festival. This marks the first time a Korean film has scooped up top honors at one of the major three European fests (Berlin, Cannes, Venice)! It is also a major comeback for Kim Ki-duk and proof of his popularity overseas. Also encouraging is the film's strong performance in Korea, which was bolstered by the international accolade, jumping four spots in the rankings in a single day. (Modern Korean Cinema, September 12, 2012)

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WKR: Pieta Bows at Venice, New Releases and KOFFIA (08/31-09/06, 2012)

A slew of reviews from all manner of sources this week including many for Kim Ki-duk's latest Pieta.

CURRENT RELEASES

577 Project

(Joong Ang Daily, September 5, 2012)

Neighbors

(Modern Korean Cinema, September 5, 2012)

Pieta

(Cine-Vue, September 6, 2012)

(Indiewire, September 4, 2012)

(The Hollywood Reporter, September 3, 2012)

(The Korea Times, September 6, 2012)

R2B: Return to Base

(KKonnect, September 2, 2012)

Young Gun in the Time

(Modern Korean Cinema, August 30, 2012)

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KCN: Park Chan-wook takes on Western, Pieta at Venice and Busan Heats Up! (08/30-09/05, 2012)

The bis news this week is a new Park Chan-wook project, Pieta premiering at Venice and numerous Busan Film Fest announcements

BIFF 2012

The 17th Busan International Film Festival is exactly one month away and the news is starting to come in thick and fast. MKC will be on site for the entire event:

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KCN: Oscar Shortlist, Festival News and Trailers (08/23-08/29, 2012)

Oscar news this week and a number of festival items, not to mention posters and trailers.

KOREAN CINEMA NEWS

KOFIC Announces Shortlist for 2013 Oscars
A team is being assembled by the Korean Film Council to deliberate over the merits of five recent Korean features hoping to become to next selection to represent the nation in the Foreign-Language Oscar race. This year's contenders include Im Sang-soo's Taste of Money, Hong Sang-soo's In Another Country, Kim Ki-duk's Pieta (which is having its world premiere next month at Venice, the gangster pic Nameless Gangster and Lee Byung-hyun period drama Masquerade, which opens next month in Korea.

Over the past few years there has been some consternation regarding the eventual picks, which have included Crossing (2008), A Barefoot Dream (2010) and The Front Line (2011). Films that seemed to have far better potential have been passed over, such as Lee Chang-dong's Poetry or the popular hit Sunny. This year's crop does not inspire a great deal of confidence (though few have seen the latter two yet) and imagine that 2013 will be another year without a Korean Oscar nominee. To date not a single Korean film has ever been selected. (Modern Korean Cinema, August 29, 2012)

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Korean Cinema News (07/19-07/25, 2012)

An abbreviated KCN as I am was away covering this year's PiFan.

KOREAN CINEMA NEWS

Korean Film Invited to Venice’s Independent Section
Director Jeon Kyu-hwan’s feature-length film The Weight has been included in the line-up of the Venice Film Festival’s autonomous sidebar section, the movie’s distributor Fine Cut said. Jeon, whose previous works include Berlinale-featured Varanasi and Dance Town, has become the first Korean director to be invited to the Venice Days competition program. The sidebar is widely considered to be the equivalent of Cannes Director’s Fortnight. (The Korea Herald, July 25, 2012)

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