Since Kim Ji-duk's sexual assault was revealed, many people have used this as a handle to find the seeds of humanity for the "perverted" and "pornographic" images in Kim Ki-duk's works. In the history of Korean film, Kim Ki-duk must be an extremely alternative and independent existence.
Kim Ki-deok is a marginal person, born at the bottom of the society. He fled from Europe as a young man, hoping to get ahead in France by painting, until he finds his soul in the film.
Art has always been a very dangerous thing, with maddening cues. The filthiest emotions and purest souls, the most distorted characters and the freest rebellions of human beings are perfectly integrated and embodied in his works.
I think that once a work of art is created, it has an independent life. It has the creator's name, but it is not a vassal of the creator and should not be a victim. Expressing disgust and disapproval of someone by boycotting a work is extremely disrespectful and blasphemous to art.
Everyone has the flame of desire, everyone is not perfect, and mistakes need to be punished, but life should not be denied, and they should not be deprived of their qualifications to enter the kingdom of art.
Kim Ki-duk's works are always labeled as erotic, although erotic content accounts for very little in his works, even with a kind of sad color. The characters under his lens are often marginal figures from the lower classes of society: prostitutes, fishermen, murderers, clients, debtors...
They are lonely and cornered, and they are redeemed in sex and love.
Jierong and Yijun have such a dialogue in "The Samaritan Girl"
'What is the use of unimaginable sex for Buddhists'
"Maybe it evokes a mother's innermost being"
So Jierong chose to use sex to awaken the motherhood in others' hearts and became Vasumitra,
When this deity-filled behavior was discovered by the modern sanctions system, Jierong chose to go to death with a smile.
Sex and love give not only redemption, but also the rise of desire and the destruction of self,
In "Spring, Summer, Autumn, Winter and Another Spring", the love between a girl and a Buddhist has aroused his inner desire for worldly emotions. He returned to the world but was betrayed by love.
"She said she would love me only for the rest of her life"
A jealous Buddhist kills a rival, and eventually becomes your murderer and escapes back to the mountain where you grew up in the temple.
The character lines under Kim Ki-duk's lens are sparse, conveying in silence what words can't express. As gentle as it is cruel, it seems that human beings can never communicate between souls through language.
The picture and music become the emotional explosion point of "Bow". The love bow is both a sultry string and a murderous bow. The bond between the old and the girl is hidden in the sound of the piano.
The melody floating under the moonlight, the whirling tones in the earphones, the divination on the swing, the divine intercourse.
The young girl wandering between the old and the young is a symbol of the Korean civilization, which is stagnant in history and modernity. At the end, the girl was imperceptibly pierced by the old man's defense line of the virgin, and the bow and arrow fell from the sky, as if Korea, which was bound by traditional civilization, was strangled at this moment. The fishing boat that symbolizes traditional civilization sank, and the girl representing South Korea must always go to the future under the guidance of modern civilization.
Tae-seok and Sun-hwa in "The Empty Room" never exchanged a word from beginning to end, but the love between them became as transparent and clean as water because of this silence.
Taishi who lives in an empty room, Taishi who lives in another 180-degree world, Taishi who cries after playing golf and accidentally hurts someone, Taishi who holds a funeral for an old man who died unexpectedly, is a wanderer in the real world He is also a poet of the inner world.
Hee-jin and Hyun-sik in "The Drifting Room" are also a pair of silent lovers. They are both painful people and people who have been stripped of their flesh by life. Their expressions were cold, and the heavy past was deposited in their eyes. They are at odds with each other, and push each other in ambiguity. Use the hook to hurt yourself to gain the love and redemption of the other party.
It is precisely because of the scarcity of lines that Kim Ki-duk's films truly return to the truth that the film is the art of the lens; that is, the use of pictures to tell a story. It even endows the artistic conception of the whole work with an ethereal feeling of religion.
This article was first published on WeChat public account: Joy's house
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