This film is Kim Ki-duk's early work and was nominated by Venice, which made the world begin to pay attention to him. Indeed, all of this pervert's work is full of awards. The seemingly rough and careless picture contains a huge explosive force and has the natural flavor of the movie. However, in the process of watching this film, I suddenly had a new understanding of Kim Ki-duk:
First, I suddenly found that his films are female-centric, because all his female characters are more independent and more independent than the male ones. Fullness, more complexity, and thus more importance. The women in Kim Ki-duk's films are products of complete artistic fiction, something you don't expect to encounter in your life. The blind girl in this film looks very docile. The first time she helped others to keep drugs, she ate one by herself. She raised a dog for masturbation, and there was no difference between joy and sorrow when she was raped. Living in despair is filled with courage and strength. So did Zhang Wu's mother, who was cut off by her son and still had nothing to look back on. Thinking back to the two girls in "Samarian Girl", the young woman in "The Empty Room", and the women under the lens of Kim Ki-duk, they surprisingly possess extraordinary willpower, self-control and terrifying ability to act.
Second, I found that Kim Ki-duk has a huge abhorrence of the human body, he mutilates the flesh of his characters in every movie, and likes to portray the flesh in filthy ways. Many of his roles seem to be painless, either hurting others or self-mutilating, fighting social oppression with ruthless performances. When Ji-hwa in this movie swallowed the wire loop and dug it out of his poop, I basically had a breakdown.
But this pervert is a really good director, and he always makes you feel like you're out of breath. In addition, I also like his big panorama, a bit of Abbas, in this film Zhang Wu was beaten by a dog dealer, the scene where Ji Hua was watching, and the girl at the end of "Samarian Girl" drove the Sonata. The scene of chasing after his father like a toddler is a master's style, and he deserves to be the best director winner of the two major film festivals in Berlin and Venice. His goal is only Cannes...
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