I have a habit of watching movies. Most of the movies I know him It is generally a bit famous. Either it is a master work, or it has won an award. I also pay attention to very controversial works. Every time I watch a movie, if I don’t like the director of the work. If I am familiar with it, I will go to the Internet to search for his information. Every time I watch a movie, I will also search for the film review of this movie. See how others comment on this movie. And how I appreciate this movie. At the same time Will also pay attention to the success of this film.
I downloaded and watched Kim Ki-duk's "The Young Prostitute", "Girls in Maria City", "Dream Room", "Bad Boys", "Shoreline", "Empty Room", "Bow", and the most recent work "Time". These works are bold and radical, prefer sadomasochistic, misogynistic stories, full of violence and pornography, Kim Ki-duk's extraordinary director skills, exploring the peculiar aesthetics of violence and perversion The dark side of society.
Kim Ki-duk's early work "The Young Prostitute" tells the story of a prostitute who makes another good family girl volunteer to be a prostitute, but in stark contrast to "Bad Boy", "Bad Boy" is about a man with a crush who turns a female college student who hates him into a slut. prostitute. "The Young Prostitute" shows the dignity of a woman as a prostitute.
"Drifting Desire Room", I feel that the photography is a landscape of ink and wash, and the music makes people feel heartbroken, but the inner strength is surging with unspeakable secret sexual desire, some pictures are really shocking! I feel an uncomfortable feeling in my heart, Perhaps this is the complex and mysterious image texture of this film.
The first "Girls in Samaria City" I watched was aimed at sadomasochistic men and women. Different from "The Drift Bathroom", the story of this film took place in the city, and many of the indoor erotic scenes were very charming. I personally think that This is Kim Ki-deok's most natural and fresh film. The ending of the story is also very novel. It gives people a room for imagination, just like "Please, Praise Me" directed by Huang Jianxin of our country. At the end, there is no clear ending for watching. But The storyline of Director Jin's film is a bit bizarre, but it is more understandable than the stories of other films. I am moved by the feelings between the father and daughter, and also by the good intentions of the father.
I just watched "Bad Boys", and I felt that after reading most of Kim Ki-duk's works, I had a lot of insights in my heart, so I decided to write an article. "Bad Boy" is a semi-abstract film that subverts traditional images, and seems to have brought Kim Ki-duk's aesthetic taste and life philosophy to the extreme. To be precise, this is a love movie, but it must be a deformed love, but most of Kim Ki-duk's works are about deformed love. I don't know how his brain's understanding of love is so abandoned. And "Bad Boy" is also a shocking, deformed love that transcends class status. I watched this movie and felt that the director may want to reveal to the audience that girls don't need to be too high-minded, not too arrogant, and not to be too arrogant. So when I saw the heroine spit in the hero's face, I knew from the hero's eyes that hurting others' sensitive self-esteem would still pay a heavy price. The strange thing is that the last heroine fell in love with the man who ruined her life.
The storyline of Shoreline is more reasonable. Although Kim Ki-duk's works are rather bizarre. And the protagonist is completely taciturn. Sometimes it's a bit boring to watch, and at the same time increases the difficulty of the actors, but Kim Ki-duk's bold and natural narrative. Make everyone believe this fact. This is his success, and it is no wonder that major film festivals will give him the Best Director Award. "Shoreline" is through the tragic fate of the two protagonists, indicting the brutality and hypocrisy of the ruling junta's unscrupulous nature for profit, and describing a collective madness of human nature under the division of the Korean peninsula. It also exposes the ugliness of human nature to a certain extent. Almost every director Jin contains profound philosophies in deformed love stories!
Kim Ki-deok's works have always been difficult for the mainstream to accept in Korea, nor are they valued by the Korean people. Maybe Koreans with strong self-esteem can't accept his deformed love! However, Kim Ki-duk won the Silver Lion for Best Director in Venice for "The Empty Room". "The Empty Room" is more "normal" than any of Kim Ki-duk's previous films. The heroine is no longer a prostitute, and it also breaks many of his conventions. , the picture is also less bloody. The compactness and smoothness of the picture will never produce a feeling of dullness and tediousness, but will make people more involved in the plot.
"Bow" tells the story of a 60-year-old man living in a small boat with a 16-year-old girl. He plans to marry her when she is 17 and take her out of this world. Then people came to the boat to fish and saw the girl at the same time, and the girl who had always lived at sea became interested in the city people, but the old man also became nervous and surly. This movie is a bit like his "Drift Bathroom", the storyline is still very bizarre. Kim Ki-duk is almost obsessed with this state of pushing human nature to the extreme.
I have seen "Time", and I don't have a great understanding. The storyline is not so outrageous, but it lacks a lot of things
. His new film, "Breathe" performed by Taiwanese actor Zhang Zhen, tells the story of a murderer who is about to be shot and the cause of death. A story between a housewife who is troubled by her husband's affair, and a husband who tries to stop their relationship. The storyline is also a little weird, I believe everyone must be looking forward to it.
Kim Ki-duk is indeed a weird director. His work is also very controversial. Everyone calls him a master of erotic violence, I don't think so, but his works are not easy to classify in China. The third-level film is not the same. Art films also have a little bit of that. In a word, his works love to express the themes of sex, violence and death, which no Chinese director dares to challenge, violence, death and other themes at the same time, and it is even more difficult to rub them together. lust and violence are often rubbed together forcefully. At the same time, it constructs a social and national metaphor composed of complex personality, violence, lust, and aesthetic tones.
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