The metaphor of a nation
loves Kim Ki-duk, who reflects the profound tragedy of humanity and the nation, and the twin sisters of sex and violence permeate all of his works. He never shies away from discussing political and social realities, but mostly in the form of metaphors, thanks to his unique creativity, novel and bold ideas. The film "Drifting Room" caused a sensation at the Venice Film Festival. This film builds on its earlier works "Crocodile", "Beast City" and "Bird Cage Hotel", constructing a complex personality, violence, lust, beauty. A national metaphor composed of hues - a cruel island. The image of the isolated island appears repeatedly in his films, gradually evolving from the "water hotel" in "Drifting Room" to the "water temple" in "Spring, Summer, Autumn, Winter and Another Spring" to the hulk in "Bow". Under the big image of "island", his films are also filled with various suggestive symbols, such as fish, girls, water plants, bows, and fish hooks. These images are all trying to express the state of a nation being cut and hurt. In "The Room of Drifting Desires", the dumb girl put a hooked fishing line into her lower body in order to make the man come back; in "The Love Letter to Hit Back", the girl committed herself to the American soldier in order to restore her eyesight, and when the soldier wanted to tattoo her on her chest At that time, she blinded her own eyes again. This is no longer a matter of simply restoring the dignity of the nation, but a strong reaction to the burning of jade and stone when Koreans are despised. This is the product of thousands of years of Korean grief, and it is also the root of this nation's endless life. In "The Empty House" - Tae-seok sees Sun-hwa being tortured by his perverted husband, he can't bear it anymore and hits Sun-hwa's husband with a golf club. Such a scenario can only be regarded as "soft violence", and it is hard to imagine what will happen when forbearance is despised and even despairing.
The key to lust
Women are undoubtedly pivotal in Kim Ki-duk's films, they are the key to the plot, the core of the contradiction. Kim Ki-duk has turned women of all kinds into prostitutes more than once, and "Samarian Girl" seems to be opening up the bloody scars of society and revealing human nature at the same time. In "The Samaritan Girl", two underage girls meet for prostitution in order to save enough money to travel to Europe, one is responsible for the lookout, the other is responsible for the flesh trade. Once, a girl who sold herself as a prostitute jumped off a building and committed suicide. Another girl who witnessed the tragic situation was greatly stimulated, and she absurdly decided to sleep with the men who had dealt with her friends and exchanged money for them, hoping to obtain redemption. In "Sparrow Cage Inn", Jin Ji-de echoes a goldfish and a group of burnt photos at the beginning and end, showing the reincarnation of prostitutes and the ritual handover of the two prostitutes. These works are not only a simple interpretation of "nature", but also contain the Buddhist ideas of "salvation", "karma" and "reincarnation". Innocent children wrapped stones around the heads of fish, frogs, and snakes, watching them struggle and pant and dance. Ironically, the child has gone through all the vicissitudes of life and become an old monk. The child he adopted has intensified his efforts to force the stone into the mouth of the animal. (2) The old monk pulled the stone statue up the mountain to save himself through punishment (3) The mother who abandoned the baby slipped into the ice hole, which is the punishment of the gods and Buddhas for the wicked. It shows the justice and discernment of the Buddha, and it also reflects the Buddhist philosophy of retribution for good and evil.
In terms of dealing with eroticism, I think Kim Ki-duk is the third director in the world who likes to find commonalities in humans and animals after Yang Delovsky and Imamura Shohei. In his works, animals appear in every corner. Kim Ki-deok created a peaceful and harmonious picture of the coexistence of animals and people: in the spring, there are cheerful dogs running in the temple, and in summer, it is replaced by a big rooster. The old monk uses the power of the rooster to drag the wooden boat in the middle of the lake to the shore. In the autumn he took the kitten and wrote with the cat's tail, and in the winter the old monk turned himself into a snake. The intercourse of snakes on the roadside in Zhongshan indicates the sexual maturity and impulsiveness of the little monks. The little monks who are in the beginning of love meet the girls secretly to taste the forbidden fruit, breaking the precepts of lust in Buddhism. Fish and grasshoppers are important flirting heroes.
bizarre like a dream
Kim Ki-duk said at the 61st Venice International Film Festival: "If my film can't express the life of this special 10% of people, then I have nothing to say." - The life he shoots is often beyond reality. In his films, the relationship between people and reality is often beyond the social norm, and reality and fantasy are intertwined, making people enter an incredible world. In "Empty Room", a young man named Tai Shi rides a motorcycle to hand out flyers every day. He stuffs the flyer into the keyhole. If the flyer has not been removed after a few days, Tai Shi will open the lock and put it in a small room. For a while, he cooks and bathes there, and in exchange, he repairs broken electrical appliances in the house and washes dirty clothes for others. This reminds me of the funeral home salesperson in Cai Mingliang's "Long Live Love" who posted an advertisement and sneaked to someone else's house for boarding. The difference is that the former is picking the door lock and the latter is stealing the key. Different from "Long Live Love", the theme of "Empty House" does not reflect the bitterness of life and spiritual distress of the bottom people. Its perspective turns to the families of all kinds in the city, so that we can see all kinds of lives and mentalities, and there are others. In the prison, he began to perform "invisibility". After he was released from prison, he came to the woman's house, and the woman's husband could not see him at all. So, the three started a strange cohabitation... Here we don't mean to say that his creations come from imagination. If we get to know Kim Ki-duk deeply, we will find that his creations are by no means groundless. Most of his works are created through personal and The experiences of the people around him and the creation of stories—for example, "The City of Beasts" was purified from his experience in studying art in Paris; "Coastline" is related to his military experience; the heroine Jin Senhua in "Bad Boys" is based on Kim Ki-deok's emotional experience evolved; as for "Spring and Winter Comes", I created it after some very painful experiences and tribulations myself.
self-abuse for punishment
If Takashi Miike and Park Chan-wook are veritable "masters of sadism", then Kim Ki-duk and Shinya Tsukamoto are out-and-out "masochistic experts". And Tsukamoto Jin is also out of self-consolation for no reason, and Kim Ki-duk is more self-abuse (death) out of punishment. Like in "Bad Boys", the brothel thug Henji forcibly kisses Sen Hua, a female college student, in the park, and Sen Hua slaps Henji in the face. In order to get Sun Hwa, Hung Ji framed her and sold her to a brothel, and peeped at the scene of her being ravaged and suffered. He destroyed Sun Hwa with his own hands, turned her into a real prostitute, and made her ravaged by men. In order to make Senhua hate him to the bone, in order to leave an indelible memory about him for Senhua---in the hope of falling in love with him. His extremely logical collage plot, although it is deliberately suspected, it always drives the audience's fantasy to a dead end, and under his coercion, produces a kind of melancholy that cannot be relieved.
The overall level of South Korea's No. 1
Kim Ki-duk movies is very high, and the subject matter is quite rich. Among them, the most formal and metaphysical is "Spring, Summer, Autumn, Winter and Spring", and the closest to reality is "Coastline", which has the fullest and most vivid plot. The most intense, and the most profound expression of the pain of the nation is "Unreceived Love Letters", "Bad Men" is the most concentrated on men, and the most concentrated on women is "The Room of Drifting Desires." The one with rich metaphor is "Bow" (in the film, the bow is the weapon that the old man uses to resist the outside world, and the old man uses archery to stop outsiders from intruding on the girl; as a musical instrument, it is a tool for the characters to express their emotions, which is the most surprising. The only thing is that at the end of the film the bow and arrow symbolize the old man's penis, and the last arrow is really shocking). The most charming is "The Samaritan Girl", with his rare compassion and tolerance, he is completely natural at the end of this film. He took a similar approach to Kislowski's "Blind Hits" and got rid of the simple practice of ending a painful life with death, which he used to do. As a police father, he had no intention of finding out that his daughter was assisted in dating. He couldn't accept the reality, so he followed his daughter and beat up the client. In the end, he lost his mind completely. He actually killed a client who was sleeping with his daughter and embarked on a road of no return. After the murder, the father took his daughter into the mountain to visit the grave of his deceased wife. The next day, he called the police and turned himself in after going down the mountain. When the police arrived, his daughter was learning to drive and saw her father being taken away, she tried desperately to drive in pursuit, but stumbled and stranded on the mountain road... This scene is very meaningful, along with the highlights of all his works in my mind The flashbacks formed my overall impression of Kim Ki-duk's film.
Attachment: Kim Ki-deok's resume
Kim Ki-duk was born in a remote mountain village in South Korea in 1960. In 1990, he went to France to study art and started writing scripts through a public script solicitation activity. His life experience was quite tortuous. He was born in an unfortunate family. His final education was a junior high school (graduated from an agricultural college, but because the school was an informal school, he did not obtain a degree), and later served as a soldier for 5 years. , because the job is hard to find, so I work in a shelter for the disabled, mainly manual labor. In Kim Ki-duk's own words, "I would rather forget about my life before the age of 30." At the age of 30, in order to pursue his art dream, he went to France to study alone. The two years of living in Europe enriched him a lot. After returning to China, he used his spare time to write scripts. It didn't take long for his scripts to win awards. In 1996, he wrote the script "Crocodile", and a film company hoped to make it into a movie. Since then, he has never been able to receive it, and has created a total of 12 films, which I regard as "the first Korean director".
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