In this way, Kim Ki-duk's works have been read halfway, "Drifting Room", "Spring Comes Again", "Empty Room", "Bow", "Samaria Girl".
While rejecting Korean movies, I have to admit that I can't help watching Kim Ki-duk's movies. He is an unavoidable topic, and it is placed in front of you to test your morality and the bottom line of humanity. He has become a superstar in the current film industry and cannot be ignored and despised.
Watching Kim Ki-duk's films, you have to endure a very strong sense of discomfort, not naked bloody violence and eroticism, but the concept of consciousness in it is inconsistent with reality everywhere, which is unpleasant. It can be said that the only one that does not make people unhappy is "Spring Goes and Spring Comes Again", which completely discards the specific story and leaves the imagery full of Buddhist verses. People watch it as a baptism of Buddhism and Zen, and it does not contain any extreme plot that contradicts ethics and morality.
Looking at the rest of the films, the story of "Empty Room" is the calmest, the woman who inserts a fish hook into her pussy in "Room of Desire", the 17-year-old girl married to a 60-year-old man in "Bow", the "Samaria" In "Girls", the high school girls who try to save the souls of men by assisting in communication are all testing the audience's tolerance.
Though unpleasant, the propositions he presents are full of wisdom, and the most intense feature of all of Kim Ki-duk's films is the Buddha and the prostitute.
He likes to use Buddhist image language to package the film, such as the Buddha statue on the boat in "Bow", the girl in "Samaria Girl" who pretends to be the holy prostitute Sumida, the concept of "Empty Room", the infinite concept, the plot itself Contrary to ethics, the idea conveys redemption and compassion. It can be seen that he was greatly influenced by religion, and when he used Buddhism as a symbol, it actually became a sustenance.
Kim Ki-duk can also turn every woman into a prostitute, no matter what status she is in the film, the functional role of a woman and a prostitute is always equated. Of course, "Empty Room" is about women in the shadow of domestic violence, but almost all of the women in his 11 works have become prostitutes. The most direct ones are "The Young Prostitute", "The Drifting Room", and "The Samaritan Girl". Their own identities are normal and even noble, but their real roles are prostitutes. But it can't be judged that Kim Ki-duk is a male chauvinist, he just respects and loves these women. There is a masochistic tendency in his bones. Therefore, women who express themselves with unclean and pure sex are only a way of spiritual salvation in his eyes.
I don't think Kim Ki-duk wants to tell the audience anything, he's just pouring out his heart. Growing up in an extremely oppressed cultural desert environment, he has had different ideological demands since he was a child. The only way to find tranquility is through expression. What he is looking for is movies. Jin Ji-de, who has such a strong sense of form, lives the life of an ordinary person, but his heart cannot be mediocre, which will inevitably bring him torn contradictions, and the violent conflicts become the source of inspiration and the need for expression at the same time.
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