We should note that Kim Kidd rarely gets the best film at international film festivals, but always gets the best director award. This is probably because it is difficult for his films to gain the widest recognition, especially the acquiescence of traditional moral values. Apart from "Unreceived Love Letters", he rarely clarifies his historical critical position (historical criticism, often, This is an effective way to get the best film), but pay more attention to men and women, pay more attention to marginalized people, especially frustrated women. I once said that "Spring, Summer, Autumn, Winter and Another Spring" is his reborn work, and "Samaria Girl" is his transformation or breakthrough. After that, his story will remain bloody, but it will no longer be thorough. Despair ended. "Empty Room" has indeed become a gentle fable, especially the latter half, which is almost a surreal theme with an infinitely ambiguous attitude.
The men in Kim Kidd's movies are few words, but in "Empty Room", the hero and heroine are silent at the same time. Needless to say, it is the beginning of hiding, but in the face of such a real world where "others are hell", can individuals really hide? Many movies have the metaphor of "empty room", such as "Chongqing Forest", such as "Long Live Love", especially "Long Live Love". Cai Mingliang wants to express the indifference of Taipei and the indifference of urban life. Kim Kidd probably has seen this movie, so he is more abstract, brighter, and more meaningful than Tsai Mingliang-Tsai Mingliang's lack of humor is a big limitation for him.
Watching "Empty Room", you really can't help but admire the director's imagination. He can shoot low-cost movies one by one, and do so endlessly. It is not only cold but also interesting, it is really rare. Although Kim Ki-duk hasn't had an absolutely good work so far, he is indeed the one with the most potential as a master among Korean directors. The only one who can share half of the world with him is Park Chan-wook.
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