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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