The story revolving around a daughter who redeems a man with her body and a father who is silent and forbearing is more like a psychological horror or crime novel about urban perverts. And there are many shadowy areas where the characters' behavior is unclear. You Jin is so paranoid that he used his virginity to pay off Gia's debts. Even if a father is eager to love his daughter, as a policeman, he shouldn't take the opposite side of the law so easily. It’s not that Kim Ki-duk didn’t explain it, but his narration penetrated deep into human nature. If you want to reach the destination, it is inevitable that there will be many obstacles and quick success. In a busy city, it is not easy to live in a big city. The quiet, mostly disturbing quiet sounds and colors. Only in the third part of the film, when the father and daughter drive to the mountain to sweep the grave, do they vaguely return to the natural world where Kim Ki-duk can best wield his talents.
Space curls up at one point, and the director begins to turn to time for help. Then his usual night and dawn intentions appeared: at night, because of their own pains, the father and daughter lie on their backs. When the father wakes up, he only sees the empty bed of his daughter, and then he finds that the daughter outside the window is licking in the dark. Wounds, weeping recklessly; in the early morning, father and daughter bid farewell to the old man and embarked on a journey home, everything was stained with the faint blue that made the sun appear hazy. Only when the hustle and bustle of reality is reduced to a few abstract lines can the brilliance and darkness of human nature be magnified, and the power that directly points to the heart can be emitted. The flow of time has a spatial meaning here, which is the key to maintaining the development of the story and creating a specific atmosphere. The city is different. There are too many considerations and ties in telling stories here. Perhaps because of this, the director favors the reproduction of the same situation and the choice of a specific environment: the murmurs of Gia and Yujin in the bathroom are presented twice; an attempt is made to create a quiet corner in the midst of the hustle and bustle—a campus full of fallen leaves, twists and turns The long forest path—it can’t be denied that the two girls’ campus sculptures sat next to each other, a row of poplar trees shrouded in the sunset stood behind them, and the theme music sounded quietly. There was a lot of poetry in this moment.
However, the poetic creation is often cut off by reality: the middle-aged man who was humiliated by Jin's father pushed open the door and finally chose to die. Kim Ki-duk is very subtle here, the falling watch, the dull sound of bone and the blood flowing along the bricks describe everything. I don’t think the director turned to this kind of gentle performance because he was afraid of tragedies. He was not a gentle narrator-because of his guilty conscience, how would the audience feel if the audience were directly faced with the scene of the man falling from the sky, “abrupt” Yes for sure. How can he be so vulnerable when he is old, not to mention his old mother, wife and children behind him? It's just the technique here. The obscure expression arouses the audience's desire to inquire, thus covering up people's doubts about the logic itself. It must be said that Kim Ki-duk is a smart narrator. However, he is not smart enough, otherwise such a hard injury would not have occurred.
To say it was a hard injury is really harsh. Jin Dao has always been good at interpreting the joys and sorrows of human nature on the extreme edge, but this time, he stood in a space that he was not familiar with and explained the causes of Zen, but unfortunately he fell into the world.
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