f r o m C h i c a g o , a n e t e r n a l s t u d e n t . N o n e h o w e v e r c a m e f r o m as f a r a w a y as K i m K i - d u k .

It
a p p e a r s t h a t i n t h e f i r s t p a r t o f his l i f e , K i m K i - d u k a c c u m u l a t e d all t h e e x p e r i e n c e s possible
t o r e - i n s c r i b e t h e m i n t o his f u t u r e c i n e m a . By w a l k i n g o n t h e e d g e f o r t h i r t y y e a r s , K i m Ki-
d u k p h y s i c a l l y e x p l o r e d t h e t h e m e s o f his f u t u r e c i n e m a : w a n d e r i n g , e s c a p e a n d , a b o v e a l l ,
survival. Born in 1960 in a mountain village in t h e Kyongsang province, he studied
a g r i c u l t u r e a n d s t a r t e d w o r k i n a f a c t o r y a t t h e age o f s e v e n t e e n . He did a prolonged
m i l i t a r y s e r v i c e i n t h e marines, then decided to become a priest a n d retreated into a
Catholic monastery H e started painting. W i t h little m o n e y , he travelled t h r o u g h Europe,
f r o m F i n l a n d t o G r e e c e . H e f i n a l l y s e t t l e d n e a r M o n t p e l l i e r , w h e r e h e s o l d his p a i n t i n g s i n
t h e s t r e e t , a n d w h e r e , h e r e c a l l e d , h e s a w t h r e e f i l m s : Les Amants du Pont- Neuf, Tine Lover
and The Silence of the Lambs. He returned to Korea and sent t w o scripts t o various
c o m p e t i t i o n s . O n e w a s c a l l e d Painter and Prisoner, t h e s e c o n d Illegal Crossing. Both won
prizes in 1 9 9 4 . N e i t h e r w e r e shot, b u t he s u c c e e d e d in f i n a n c i n g a t h i r d p r o j e c t . Crocodile,
w h o s e s h o o t i n g started in 1 9 9 6 .

K i m K i - d u k ' s f i r s t f i l m s a r e l o g i c a l l y e n o u g h m a r k e d b y F r e n c h a e s t h e t i c s . Crocodile tells

t h e s t o r y o f a t r a m p a n d a g i r l u n d e r a b r i d g e in S e o u l a n d is l a r g e l y i n s p i r e d b y L e o s C a r a x ' s
Les Amants du Pont- Neuf ( w h i c h h a d b e e n a v e r y b i g c o m m e r c i a l success in Korea, along
w i t h o t h e r C a r a x f i l m s ) . Wild Animals, his f o l l o w - u p f i l m , w a s set i n Paris. In t h a t f i l m Kim
K i - d u k d i r e c t s D e n i s L a v a n t , o n e o f t h e C a r a x r e g u l a r s , as w e l l as R i c h a r d B o h r i n g e r , playing
a r o l e s i m i l a r t o t h e o n e i n Diva. H o w e v e r , those t w o first films w e r e n o t a commercial
s u c c e s s a n d h e d i d n ' t k n o w , w h e n h e w r o t e his n e x t s c r i p t , if t h e t h i r d o p u s w o u l d e v e r b e
m a d e . T h e t h e m e of survival c a u g h t u p w i t h h i m . H e h a d t o d i g his t e e t h d e e p e r into
c i n e m a i f h e d i d n ' t w a n t t o risk l o s i n g i t .

K i m Ki-duk was again saved by a c o m p e t i t i o n . T h e Kofic (Korean Film Commission)

awarded a p r i z e f o r t h e s c r i p t o f Birdcage Inn. Production could begin. The film finally
g a i n e d s o m e success. W a t e r , a n i m a l s , p r o s t i t u t i o n . . . Kim Ki-duk gave f o r m t o the same
o b s e s s i o n s as i n his p r e v i o u s f i l m s , i n a mise- en- scene still m u c h i n s p i r e d b y F r e n c h c i n e m a
( t h e d e s e r t e d b e a c h b e i n g r e m i n i s c e n t o f Betty Blue). H o w e v e r , m a r k e t i n g insisted o n t h e
scandalous side o f t h e story in w h i c h a sensible s t u d e n t takes o n t h e i d e n t i t y o f a p r o s t i t u t e .
In 1 9 9 8 , K o r e a w a s s h a k e n t o o b y I m S a n g - s o o ' s Girls' night out, in w h i c h a g r o u p o f
g i r l f r i e n d s s h a r e d e t a i l s o f t h e i r s e x u a l l i f e , as w e l l as b y E J Y o n g ' s f i r s t f i l m . An Affair, in
w h i c h t h e h e r o falls i n l o v e w i t h his f u t u r e sister-in-law, m u c h o l d e r t h a n h i m . T h e audience
o b v i o u s l y n e e d e d t o be s h o c k e d . K im Ki-duk c a m e at t h e right t i m e . T h e renaissance o f
Korean cinema was a national p r o j e c t , a k i n d o f b i g b u i l d i n g s i t e . It w a s a matter of

10
r e b u i l d i n g a d y i n g industry, reconciling the Korean p e o p l e w i t h their c i n e m a and p r o d u c i n g
films c a p a b l e o f c a r r y i n g f o r t h t h e i m a g e o f a n a t i o n at f i l m festivals, f o r Korea w a s seeking
t o exist b e y o n d factories for e l e c t r o n i c c o m p o n e n t s a n d c h e a p electric goods. T h e c o u n t r y
launched a campaign to obtain a Nobel prize, and encouraged the film directors capable
of h a v i ng a d i a l o g u e w i t h t h e C h i n e s e or t h e Iranians at t h e b i g i n t e r n a t i o n a l f i l m events.
Birdcage Inn was invited t o t h e Berlin, Karlovy Vary a n d M o n t r e a l festivals... Kim Ki-duk
t o o k o n t h e r o l e o f c h a m p i o n , a r o l e t h a t h e still a s s u m e s t o d a y The Isle, his n e x t f i l m ,
preceded by a carefully orchestrated scandalous reputation, was presented in Venice,
R o t t e r d a m , a n d T o r o n t o , a n d w e l l d i s t r i b u t e d in t h e West. A b o v e all, Kim Ki-duk's films are
successes a t I n t e r n a t i o n a l f i l m f e s t i v a l s , c u l t o b j e c t s a b r o a d and c u r i o s i t i e s i n his own
c o u n t r y . H e has c o n s o l i d a t e d his s t a t u s i n S o u t h K o r e a n c i n e m a w i t h t h a t r e c i p e : polemics
in Korea, prizes a b r o a d . H e takes a p e r s o n al s h o r t c u t , a w a y f r o m t h e e c o n o m i c motorways
of the cinema industry. As if t o m a r k t h a t f r e e d o m , h e made Real Fiction (2000), an
e x p e r i m e n t a l p r o j e c t , a k i n d o f f l a m b o y a n t m a n i f e s t o o f a c i n e m a in t h e m a k i n g . T h e f i l m
was s h o t in a f e w hours. K i m Ki-duk h a d p l a c e d c a m e r a s a r o u n d a district in Seoul a n d t h e
f i l m was s h o t like t h a t , w i t h o n e single t a k e per scene, c a p t u r e d f r o m various angles b y an
armada of objectives w o r t h y of a super surveillance video camera system. The director
l o o k s l i k e h e is r a c i n g d o w n a h i l l a t f u l l t i l t , b r a n d i s h i n g s p e e d a n d i m p r o v i s a t i o n l i k e a
banner. He sides radically w i t h those extremists w h o , w i t h A n d r e Breton, believe that
" b e a u t y w i l l b e c o n v u l s i v e o r n o t " . T h e o t h e r f i l m , w h o s e s t y l e is r a d i c a l l y o p p o s e d , b u t
w h i c h o f f e r s a n o t h e r k e y t o t h e K i m K i - d u k m e t h o d is Spring, Summer, Fall, Winter., and
Spring ( 2 0 0 3 ) . It is n o t a f i l m about B u d d h i s m , b u t a b u d d h i s t f i l m i n s u b s t a n c e as w e l l as
i n f o r m ( h e f a i t h f u l l y r e t a k e s t h e s t r u c t u r e o f Why Did Bodhi Dharma Leave for the East?
w h i c h was t h e first success o f Korean cinema abroad in 1 9 8 9 ) . T h e s e a s o n s pass i n a
m o n a s t e r y w h e r e a y o u n g m o n k lives his l i f e . Each r e p r e s e n t s a s t e p i n a m a n ' s l i f e . A t t h e
e n d , spring returns, at the same t i m e similar t o the previous o n e , and yet new, enriched by
t h e p r e v i o u s s e a s o n s . T h a t c y c l e is n o t c l o s e d o n i t s e l f l i k e a h o o p , b u t t a k e s t h e s h a p e o f
a n a s c e n d i n g s p i r a l , i n c o n s t a n t p r o g r e s s i o n . Spring, Summer, Fall, Winter... and Spring is
t h e o n l y f i l m i n w h i c h K i m K i - d u k a p p e a r s as a n a c t o r . It is a w a y t o p l a c e h i m s e l f p e r s o n a l l y
i n t h a t t i m e , t o m e r g e i n t o t h a t p r o g r e s s i o n i n c o n v o l u t i o n s . T h o u g h K i m K i - d u k is o f f i c i a l l y
a p r o t e s t a n t , his c i n e m a t i c p r a c t i s e o b v i o u s l y f o l l o w s B u d d h i s t t i m e a n d d y n a m i c s . A l l his
characters are re-incarnations. U n i t e d together, t h e y f o r m a l o n g f a r a n d o l e d a n c e c o i l e d like
a snake. They hold each other's h a n d , dragging each other along into a collective leaping
a n d b o u n d i n g . T h e A m e r i c a n s o l d i e r h u n t e d d o w n b y t h e v i l l a g e r s i n Address Unknown
b e c o m e s t h e m a d c a p t a i n i n Coast Guard p u r s u e d b y his o w n u n i t . To e s c a p e t h e m , h e
b e c o m e s a ghost, d i s c r e e t l y g l i d i n g a l o n g t h e sides t h r o u g h t h e b a r b e d w i r e . H e pre-figur
t h e b u r g l a r i n 3- iron, w h o f l o a t s l i k e a s p e c t r e , i n v i s i b l e , f r o m h o u s e t o h o u s e . In t h e s a m e
w a y , t h e t w o girls i n Samaritan Girl are manifestations of t h e prostitute a n d t h e s t u d e n t w h o
a l r e a d y s w a p p e d i d e n t i t i e s i n Birdcage Inn... O n e understands t h e n w h y Kim Ki-duk shoots
so m u c h a n d so fast. H e n e e d s t o c a r r y o n a t all costs m a k i n g t h a t f r e n e t i c f a r a n d o l e d a n c e :
o n e f i l m invoke s another , o n e character leads t o t h e n e x t in t h e sam e procession. Like t h e
c y c l e o f s e a s o n s , t h a t m o v e m e n t c a n n o t e n d . For e n d i n g is d y i n g .

A t t h e e n d o f Bad Guy, t h e l o u t has t u r n e d t h e s t u d e n t i n t o a p r o s t i t u t e . H e has t h r o w n

a n o l d m a t t r e s s i n t o t h e b a c k o f a v a n a n d s o l d t h e b o d y o f his b e l o v e d t o t h e f i s h e r m e n
e x h a u s t e d b y a n i g h t a t sea. H a v i n g m a d e m o n e y f r o m a f e w ' q u i c k i e s ' , t h e c o u p l e d r i v e
off a l o n g t h e c o r n i c h e r o a d . T h e vehicle v e n t u r es i n t o t h e distance. T h e screen turns t o
b l a c k . O n t h e r i g h t , t h e v e h i c l e has l e f t its m a r k : a s m a l l s c a r l e t r e d s q u a r e s t a n d s o u t o n
t h e d a r k b a c k g r o u n d . . . l i k e a s t a i n o f i n d e l i b l e b l o o d ? L i k e a n i s l a n d in a d a r k o c e a n ?

In Wild Animals, a p a i n t e r t h r o w s b l o o d o n a c a n v a s , as if t o c r e a t e a v i o l e n t w o r k f r o m
b o d y f l u i d s . T h e s t a i n is t h e t r a c e o f a s p o n t a n e o u s g e s t u r e , a f o r m d e d i c a t e d t o chance.
K i m K i - d u k t h o u g h w o r k s o n his a e s t h e t i c s . T h e c o l o u r s h e uses a r e h a r m o n i o u s o r c o n t r a s t
w i t h a certain degree o f aggressiveness, t h e p l a c e s a r e p h o t o g e n i c , t h e sets (sometimes
d e s i g n e d b y K i m himself) c a r e f u l l y c o n s t r u c t e d o r c h o s e n . . . But he feels t h e n e e d t o s h o o t
i n t h e s p a c e o f a f e w d a y s (Spring, Summer, Fall, Winter... and Spring remains an exception
f o r it was s h o t o v e r a year). Deliberately, he shoots in a f e w takes after just a f e w rehearsals.
In o t h e r w o r d s , t h a t s o p h i s t i c a t i o n m u s t s p r i n g f r o m a s u d d e n g e s t u r e . K i m m e r e l y f o l l o w s
the psychology of the characters by c o n n e c t i n g t o the t r a d i t i o n of calligraphy.

Kim Ki-duk's heroes d o n ' t anticipate events. The most spontaneous being of course
m u r d e r , m u t i l a t i o n o r s u i c i d e . It s e e m s t h a t f o r K i m K i - d u k n o t h i n g is m o r e b e a u t i f u l t h a n
that m o m e n t w h e n the b o d y changes its n o r m a l w o r k i n g c o n d i t i o n , n o l o n g e r o b e y s the
m i n d , tears itself a w a y f r o m t h e straight j a c k e t o f t h e spiri t t o react o n l y t o i n s t i n c t, like a
knee b e c o m i n g t a u t after t h e sharp tap of a mallet. The director orchestrates a w o r l d w h i c h
acts i m p u l s i v e l y O n i n s t i n c t s o f sex a n d d e a t h m a i n l y T h u s , t h e c h a r a c t e r s i n The Isle don't
m a k e a conscious decision t o swallow fish-hooks or push t h e m into a vagina. The bad guy
d o e s n ' t d e c i d e t o t h r o w h i m s e l f o n t h e p r e t t y a n d i n n o c e n t s t u d e n t . T h e y o u n g c o u n t r y girl
i n Address Unknown d o e s n ' t t a k e t h e d e c i s i o n t o g o u g e o u t her eye. T h e schoolgirl in
Samaritan Girl d o e s n ' t d e c i d e t o j u m p t h r o u g h t h e m o t e l w i n d o w , n o m o r e t h a n - later -
h e r c l i e n t t h i n k s b e f o r e h e t o o t h r o w s h i m s e l f t h r o u g h t h e w i n d o w in f r o n t o f his f a m i l y
T h e y all s p r i n g f o r w a r d , r u s h i n g i n s t i n c t i v e l y t o w a r d s t h e u n k n o w n a n d d e a t h , f r e e d f r o m
all n o t i o n s o f g o o d a n d b a d , pain or pleasure. They a r e so d e t e r m i n e d t h a t nothing,
especially m o r a l i t y or danger, could stop t h e m . Kim K i - d u k is n o t r e a l l y i n t e r e s t e d in
v i o l e n c e o r s e x, b u t i n t h a t r a p i d crossing to the other side, that m o m e n t w h e n the impulse
o f t h e b o d y s w e e p s o v e r t h e forces o f reason. W h e n t h e m a n let h i m s e l f be overwhelmed
b y his n a t u r e , t h e m a s k d r o p s , h e is b a c k t o his o r i g i n a l s t a t e , h e b e c o m e s a g a i n a " w i l d
a n i m a l " b u t a l s o a f r a g i l e , v u l n e r a b l e , s u f f e r i n g b e i n g . In r e a c h i n g t h a t n a k e d n e s s o f f e e l i n g ,
h e is a t t h e s a m e t i m e m o r e b r u t a l a n d m o r e h u m a n . C r i m e , t h e u n a v o i d a b l e r e s u l t o f t h a t
phenomenon, is t h e n c o m m i t t e d w i t h a w e a p o n of fortune, s o m e h o w incongruous: a
f r o z e n f i s h , a b r i c k , a g o l f c l u b , a s e c a t e u r s , a p i e c e o f s h a t t e r e d g l a s s . . . T h e g o l f b a l l i n 3-
iron is t h e p e r f e c t s y m b o l o f t h a t p h e n o m e n o n . T i e d t o a t r e e , i t is u s e d b y t h e amateur
golfer a n d it returns t o t h e tree after e a c h practice s w i n g . . . until t h e m e t a l t h r e a d comes
loose a n d t h e ball flies off, twists like a f u r i o u s missile, w h i r l i n g a r o u n d t o crash t h r o u g h a
w i n d s c r e e n a n d kill an o c c u p a n t .

T w o characters are e m b l e m a t i c o f t h a t t r a n s f o r m a t i o n for t h e y b o t h have a j o b l i n k e d t o

o r d e r : t h e s o l d i e r a n d t h e p o l i c e m a n . T h e p o l i c e m a n i n Samaritan Girl d i s c o v e r s t h a t his
d a u g h t e r is a p r o s t i t u t e . H e is a p i o u s a n d m e t i c u l o u s m a n . O n e c a n see i t e s p e c i a l l y i n t h e
way he applies himself w h e n h e d o e s t h e c o o k i n g , w a k e s u p his d a u g h t e r b y delicately
p l a c i n g h e a d p h o n e s o v e r h e r ears w h i c h p l a y a n Erik S a t i e p i e c e . K i m K i - d u k c a p t u r e s his
t r a n s f o r m a t i o n i n t h e i n c r e a s e o f his p a l p i t a t i n g b r e a t h i n g . H e l i t e r a l l y lets h i m s e l f g o : his
d a u g h t e r n o t i c e s t h a t h e n o l o n g e r s h a v e s , n o l o n g e r w a s h e s . H i s s t a r e is b l a n k a n d h e w a l k s
m e c h a n i c a l l y t o w a r d s m u r d e r . . . H e c o n f r o n t s o n e o f his d a u g h t e r ' s c l i e n t s i n t h e p u b l i c
lavatory of a park. H e p r o v o k e s h i m b y u r i n a t i n g o n h i m , beats h i m u p w i t h a pair o f
h a n d c u f f s , t h e n f i n i s h e s h i m o f f w i t h a b r i c k . T h e g e s t u r e is s l o w , m e c h a n i c a l , m e a s u r e d l i k e
t h e s t r o k e s o f a c l o c k . Each b l o w soils t h e c l e a n , s m o o t h a n d w h i t e t i l e d f l o o r w i t h b i g o c h r e
s p l a s h e s . B l o o d , e v e r p r e s e n t i n K i m K i - d u k ' s f i l m s (as t o a lesser e x t e n t a r e piss a n d s h i t ) ,
is n o t h i n g b u t t h e v i s u a l m a n i f e s t a t i o n o f t h a t i n t e r n a l p a r t o f t h e b o d y w h i c h r e - a p p e a r s i n
floods, t h a t a n i m a l i t y d e e p b u r i e d a n d b u b b l i n g , w h i c h spurts like a red scream. T h e Coast
G u a r d ' s j o u r n e y is m o r e s u r p r i s i n g s t i l l . T h e t r a i n i n g o f s a i l o rs is f i l m e d a l m o s t l i k e a r i t u a l .
T h e y r e p e a t t h e s a m e m o v e m e n t s i n o r d e r t o resist a n i n v i s i b l e e n e m y , a n i n v a s i o n w h i c h
never happens. But by constantly repeating those defence m o v e m e n t s , the illusion that the
e n e m y is a b o u t t o a t t a c k b e c o m e s so real t h a t it e n d s u p h a p p e n i n g . T h e n , i n a p e r f e c t l y
c o - o r d i n a t e d m e c h a n i s m , t h e c o a s t g u a r d m a c h i n e - g u n s , t h e n shells a n i n n o c e n t couple
p l a y i n g a b o u t o n t h e b e a c h . T h e y o u n g m a n is p u l v e r i z e d , t h e y o u n g g i r l s e r i o u s l y i n j u r e d .
A t t h e e n d o f t h e f i l m , h a v i n g g o n e m a d , w a n d e r i n g in a street in Seoul, t h e soldier repeats
t h e c o m b a t m o v e m e n t s w i t h a b a y o n e t . T h e passers-by c r o w d a r o u n d h i m a n d e n j o y t h e
d a n c e t h e y take f o r a display. Those m o v e m e n t s have n o m e a n i n g f o r t h e m . T h e n , c o l d l y
a n d b r u t a l l y t h e coast g u a r d p l u n g e s his b a y o n e t i n t o o n e o f t h e s p e c t a t o r ' s s t o m a c h s .

In t h a t r e g a r d K i m K i - d u k is s i m p l y p r o p o s i n g a d e g e n e r a t e s e t t i n g o f a r i t u a l a n d a n i d e a
q u i t e w i d e s p r e a d i n t h e Far East: t h e r i t u a l is u s e f u l b e c a u s e , by creating automatisms, it
c a r r i e s t h e a c t i o n t o its h i g h e s t d e g r e e o f e f f e c t i v e n e s s . T h e m o s t u n t h i n k i n g g e s t u r e is t h e
m o s t o p e r a t i v e . It is o n l y a c q u i r e d t h r o u g h r e p e t i t i o n . C o n f u c i u s says i n h i s C o n v e r s a t i o n s :
" I f h i s b e a r i n g is r i g h t , a l l w i l l b e a c c o m p l i s h e d w i t h o u t t h e n e e d t o g i v e o r d e r s ; if h i s
b e a r i n g is n o t r i g h t , h e w i l l c o m m a n d b u t n o b o d y w i l l o b e y " ^ T h e m a s t e r d o e s n ' t o f f e r h e r e
a m e r e lesson i n h o w t o l i v e . H e i m p l i e s t h e a u t h o r i t y o f t h e b o d y o v e r t h e m i n d . T h e b o d y ,
its b e a r i n g , g e n e r a t e s a n i m p e c c a b l e a n d a u t o m a t i c o r d e r . T h a t s a m e i d e a is f o u n d i n t h e
Zhuang-zi: "That passage t o a s u p e r i o r r e g i m e , t h a t m o m e n t w h e n a kind of shifting
happens, w h e n , t o t h e m o v e m e n t s artificially c o o r d i n a t e d a n d c o n t r o l l e d b y consciousness
is s u b s t i t u t e d s u d d e n l y a ' f u n c t i o n i n g o f t h i n g s ' m u c h m o r e c o m p l e t e w h i c h , t a k i n g o v e r ,
unloads the conscience o f t h e b i g g e s t p a r t o f its tasks a n d a b o l i s h e s e f f o r t s . ' " T h e m o s t
f a m o u s e x a m p l e is o f c o u r s e t h a t o f t h e b u t c h e r T i n g . Z h u a n g - z i t e l l s h o w t h e p r i n c e passes
i n f r o n t o f a p a r t i c u l a r l y s k i l f u l b u t c h e r a n d asks h i m t h e s e c r e t o f h i s a r t . A t t h e b e g i n n i n g
o f his career, t h e b u t c h e r s a w t h e beef. A f t e r t h r e e years o f p r a c t i c e , h e o n l y s a w parts o f
t h e b e e f . N o w h e sees t h e b e e f i n h i s m i n d , w i t h o u t s e e i n g i t w i t h his e y e s . H i s senses n o
l o n g e r i n t e r v e n e . H i s m i n d acts a u t o m a t i c a l l y a n d t h e b l a d e i n s e r t s itself i n t h e i n t e r s t i c e s
o f t h e carcass. T h e b u t c h e r T i n g b o n e s t h e b e e f p e r f e c t l y w i t h o u t e v e r u s i n g h i s k n i f e , f o r
h e w o r k s w i t h o u t t h i n k i n g a b o u t his m o v e m e n t s , like o n e w a l k s o r c h e w s o n e ' s f o o d . T h e
Coast Guard w o u l d t h e n be t h e cursed child or t h e degenerate p r o d u c t o f that philosophy,
o f t h a t t r a i n i n g a n d e d u c a t i o n . T h e a r m y itself seems i n v o l v e d in t e r r i b l e a n d w e l l - o i l e d
wheels, r e s p o n d i n g t o t h e c r i m i n al act o f t h e Coast Guard with a solemn and well-
orchestrated ceremony. T h e victim, having escaped the carnage, a n d having b e c o m e m a d ,
is r a p e d b y t h e e n t i r e r e g i m e n t w i t h t h e s a m e t e r r i f y i n g m e c h a n i s m . T h e t e m p t a t i o n o f t h e
b o r d e r takes o n here a p o l i t i c a l m e a n i n g in a c o u n t r y d i v i d e d f o r m o r e t h a n fifty years.
W h e n she drags her b o y f r i e n d o n t o t h e beach t o m a k e love in t h e m i d d l e o f a d e m i l i t a r i z e d
z o n e , t h e b o r d e r f o r h e r is o n l y a g a m e , a n a b s t r a c t c o n v e n t i o n o n e c o u l d b r e a k f r e e f r o m .
B u t i n r e a l i t y t h e b o r d e r is as a b s u r d as i t is r e a l , w h a t e v e r t h e v i o l e n c e o f t h e c o n s e q u e n c e s ,
f o r h e r as f o r a l l o f K i m K i - d u k ' s h e r o e s , t h e r e is n o g o i n g b a c k o r s t o p p i n g o n c e t h e
t h r e s h o l d has b e e n c r o s s e d . T h e o n l y s o l u t i o n , t h a t o f t h e B a d G u y a n d his " f i a n c e e " f o r
e x a m p l e , b u t a l s o t h a t o f t h e s c h o o l g i r l i n Samaritan Girl o r t h e o l d s a i l o r a n d t h e g i r l i n The
Bow, is t o g o t o t h e e n d o f t h e r o a d t o w a r d s w h i c h o u r i n s t i n c t s h a v e p u s h e d u s . In Spring,

' T r ad . Jean Levi in Confucius Ed . Al b i n M i ch e l Co l l . Sp ir it ualit es Vi va n t e s. 2 0 0 3 p i 3 0 .

' Jean Fr angois Billet er, Legons sur !e Tchouang- Tseu Ed . Al l i a . 2 0 0 2 . p 5 6 .
Summer, Fall, Winter... and Spring, w h e n t h e c h i l d t o r t u r e s a f r o g o r a fish by t y i n g t h e m
t o a p e b b l e , t h e m o n k r e s p o n d s b y w e i g h t i n g t h e b o y w i t h a s t o n e : "if any one of them dies
you will carry the stone in your heart for as long as you live". By f o r c i n g h i m l a t e r t o c a r v e
sutras in t h e w o o d of t h e t e m p l e , he doesn't s h o w h i m a n y t h i n g else : e a c h g e s t u r e is
d e f i n i t i v e , e a c h s p r i n g is u n i q u e , e a c h s t a i n is i n d e l i b l e .

S e e i n g t h e p a i n t e r i n Wild Animals c r e a t i n g his c u r i o u s b l o o d w o r k , o n e o b v i o u s l y t h i n k s

a b o u t J a c k s o n P o l l o c k a n d ' a c t i o n p a i n t i n g ' . I've a l r e a d y u n d e r l i n e d t h e i m p o r t a n t i n f l u e n c e
o f t h e W e s t o n t h e w o r k o f K i m Ki-duk. H e confesses h a v i n g b e e n particularly interested in
Western painting, and t h a t this interest p r o m p t e d h i m t o travel a n d stay in Europe,
e s p e c i a l l y i n F r a n c e . H i s a p p r o a c h h o w e v e r is m o r e c r o s s - m i x e d t h a n it a p p e a r s . T h e W e s t
discovered the value o f i m p r o v i s a t i o n q u i t e late w i t h j a z z , f o r e x a m p l e , w h i c h had a
considerable i m p a c t o n P o l l o c k a n d a f i l m d i r e c t o r l i k e C a s s a v e t e s . Yet P o l l o c k a d m i t t e d
h i m s e l f t h a t his m e t h o d c o u l d b e a l l i e d t o m o r e d i s t a n t a n d a n c i e n t A s i a n p r a c t i c e s . The
e n e r g e t i c t h i c k a n d t h i n s t r o k e s , t h e f i r m p r i n t s o f his b r u s h o n t h e c a n v a s also e c h o the
w o r k s o f t h e masters o f " w i l d c a l l i g r a p h y " .

We k n o w , f o r e x a m p l e , t h a t in t h e 8 t h c e n t u r y t h e C h i n e s e Z h a n g Xu used t o w r i t e w i t h
his f i n g e r s o r h a i r d i p p e d i n i n k . T h e g r e a t c a l l i g r a p h e r s a n d p a i n t e r s o f t h e Far East r e a c h e d
t h e q u i n t e s s e n c e o f t h e i r art in m o m e n t s o f t r a n c e , w h e n , a i d e d by a l c o h o l , t h e i r bodies
t o o k o v e r t h e i r m i n d s . T h e p o e t Su D o n g p o ( 1 1 * c e n t u r y ) d e s c r i b e d a p a i n t e r t h u s : "When
Yu- ko painted a bamboo, he no longer saw himself, and that's not saying a lot that he no
longer saw himself; for, possessed, he left behind his own body; that body transformed,
became bamboo, generating endless new blooms."^ In I m K w o n - t a e k ' s f i l m Chihwaseon
w e see h o w t h e p a i n t e r O w o n w a k e s u p i n t h e m o r n i n g c o m p l e t e l y a s t o n i s h e d t o d i s c o v e r
i n his s t u d i o t h e m o n s t r o u s l y b e a u t i f u l p a i n t i n g h e has g i v e n b i r t h t o d u r i n g his d r u n k e n
n i g h t . J a p a n e s e artists f r o m t h e gutail m o v e m e n t w h o p a i n t e d w i t h all p a r t s o f t h e i r b o d y
leaving o n the canvas or the paper traces o f t h e i r passage, a r e as m u c h t h e h e i r s o f
t r a d i t i o n a l c a l l i g r a p h y as t h e h e i r s o f F r e n c h i n f o r m a l a r t or, as has b e e n o f t e n r e p e a t e d , t h e
precursors of A c t i o n Painting. M u r a k a m i S a b u r o ' s w o r k Passing Through (1956) is, f o r
e x a m p l e , a k i n d o f m o n u m e n t a l c a l l i g r a p h y T h e a r t i s t has l a i d o u t a series o f p a p e r s c r e e n s
w h i c h h e t h e n g o e s t h r o u g h , r u n n i n g , l e a v i n g a p r e c i s e t r a c e o f his passage t h r o u g h t h e
s h e e t s . Passing t h r o u g h is a l s o , l i k e t h e b u t c h e r T i n g , " t o c h a n g e o n e ' s r e g i m e " a n d t o c r e a t e
n o t h i n g m o r e t h a n t h e b l u r r e d t r a c e o f a n i m p u l s e . Passing t h r o u g h o r p a i n t e d , t h e p a p e r -
screen c a p t u r e d every m o v e m e n t , e v e n t h e m o s t c l u m s y s k i d d i n g . C o n t r a r y t o t h e canvas
o f t h e W e s t e r n p a i n t e r , i t a l l o w s n o r e - t o u c h i n g a n d p e r m i t s n o h e s i t a t i o n . T h e c h a r a c t e r is

' T r ad . Frangois C h e n g , Souffle Esprit Ed . d u Se u i l , 1 9 8 9 p 7 6 .

i n s c r i b e d q u i c k l y w i t h o n e g e s t u r e w h i c h i n v o l v e s t h e w h o l e b o d y . T h e sign is t h e t r a c e o f
t h a t m o v e m e n t a n d r h y t h m . T h e e x p e r t e v e n says h e c a n r e a d i n i t t h e b r e a t h i n g o f t h e
artist. W e a r e t r u l y i n t o t h e p r o c e s s o f f i l m s s h o t i n f i f t e e n d a y s , l i k e Samaritan Girl, o r in a
f e w h o u r s l i k e Real Fiction. In t h o s e t w o f i l m s , K i m K i - d u k a l s o s h a r e s his w i l l t o m a k e o f
t h a t visual art a performance or even a show. As the great calligraphers expressed
themselves p u b l i c l y o n t h e walls o r o n t h e g r o u n d , he regularly shoots in t h e street. In
Samaritan Girl a n d a t t h e e n d o f Real Fiction, t h e passers-by w a t c h i n g t h e s h o o t i n g a r e
v i s i b l e i n t h e b a c k g r o u n d . K i m K i - d u k ' s c i n e m a has s o m e t i m e s s o u g h t t h e s o p h i s t i c a t i o n o f
s t u d i o s , b u t h e fits m o r e s u i t a b l y i n t h e l i n e o f s t r e e t a r t i s t s . If h e has o f t e n w o r k e d w i t h
m o r e o r less c o n f i r m e d a r t i s t s , h e is o n l y i n t e r e s t e d i n t h o s e w h o e x p r e s s t h e m s e l v e s f r e e l y :
m o n k s , t r a m p s o r p e n n i l e s s s t u d e n t s . Wild Animals is t h e p o r t r a i t , v e r y a u t o b i o g r a p h i c a l a n d
i n s p i r e d b y his o w n stay i n E u r o p e , o f t h a t t y p e o f c r e a t i v e a r t i s t . In t h e s t r e e t , p a i n t e r s m e e t
a c r o b a t s , m i m e s a n d p r o s t i t u t e s , all o f w h o m f o r K i m K i - d u k b e l o n g t o t h e s a m e u n i v e r s e .
T h e v e r y i r o n i c e n d i n g t o Bad Guy really resembles the b e g i n n i n g of a tale a b o u t a l o n g
p o e t i c b o h e m i a n j o u r n e y w h i c h w o u l d r e c o u n t t h e d e s t i n y o f t w o w a n d e r i n g artists. T h e
s t r e e t arts, w h o s e b e a u t y K i m K i - d u k sings a b o u t , s h a r e w i t h c a l l i g r a p h y t h a t p r e o c c u p a t i o n
for spontaneousness.
In reality, t h r o u g h o u t its h i s t o r y , K o r e a has s h o w n m o r e c r e a t i v i t y i n t h a t t y p e o f c r e a t i o n
a n d in a r t i s i n a l c r a f t t h a n i n t h e n o b l e arts o f t h e c o u r t . T h o u g h K i m K i - d u k w a n t s , o r w a n t e d
t o e x p e r i m e n t w h e n he started, he shows himself increasingly t o be t h e bearer o f an artistic
tradition t h a t he cultivates m o r e a n d m o r e . W i t h o u t ever having a d a p t e d a b o o k , he comes
s t r a i g h t f r o m t h a t l i t e r a t u r e w h i c h , s i n c e t h e 1 7 * c e n t u r y , has c i r c u l a t e d i n t h e s m a l l l o p s i d e d
b o o k s t a l l s f o u n d i n m a r k e t s b e t w e e n pig' s t r o t t e r s a n d p i l e s o f c a b b a g e s . T h e s t r e e t s m e l l s
h a v e s e e p e d i n t o t h e s h o r t texts, f e d b y t h e v i g o u r o f d a i l y life. T o d a y still, Korean l i t e r a t u r e
prefers t h e f o r m o f s h o r t effective stories t h a n t h e l o n g n o v e l ; p o e t r y r e m a i n s a m a j o r g e n r e
in Korea. The pansori, an improvised traditional song, evoked by Im Kwon-taek in
Sopyeonjae a n d i n Chunhyang w a s also b o r n o n t h e r o a d . I t i n e r a n t artists, a t t h e s a m e t i m e
singers a n d s t o r y t e l l e r s , s i t t i n g o n a s i m p l e s t r a w m a t , i m p r o v i s e a r o u n d a w e l l - k n o w n s t o r y .
T h o s e p e r f o r m a n c e s c a n last as l o n g as e i g h t h o u r s a n d a r e o f t e n a c t e d u n t i l t h e a r t i s t ' s
c o l l a p s e f r o m e x h a u s t i o n . T h e r e is a g a i n h e r e t h a t " c h a n g e o f r e g i m e " , w h e n t h e s i n g e r g o e s
from one character to another, w h e n h e f o r g e t s his t e x t t o t h r o w h i m s e l f , l i k e a jazz
s a x o p h o n i s t , i n t o a n i m p r o v i s e d c a v a l c a d e . A b o u t K i m K i - d u k o n e c o u l d also e v o k e those
street t u m b l e r s w h o used t o p e r f o r m o n village squares, p o k i n g f u n at t h e p o w e r f u l d u r i n g
i n s o l e n t s h o w s , w h i l e d e l i b e r a t e l y s e a r c h i n g f o r still m o r e instability. K i m Ki-duk, in his
c i n e m a t i c p r a c t i c e itself, has b e e n f e d o n t h a t p o p u l a r K o r e a n c u l t u r a l b a c k g r o u n d .
 M o r e t h a n oil p a i n t i n g , w h i c h he a d m i r e d a n d w a n t e d t o practice, he discovered d u r i n g
his t r a v e l s t h r o u g h E u r o p e a l o v e f o r p o r t r a i t s i n c h a r c o a l , a t a s t e f o r t h o s e ephemeral
drawings sold for a f e w coins straight after their e x e c u t i o n .
In t h e r o l e o f t h e m o n k , K i m K i - d u k s k e t c h e s t h e p o r t r a i t o f t h e c h i l d in Spring, Summer,
Fall, Winter... and Spring. T h o s e a n o n y m o u s w o r k s o f art h a v e t h e v i r t u e o f r e d u c i n g faces
t o a f e w e s s e n t i a l s t r o k e s . It is t h e w a y Kim Ki-duk handles o n e by o n e the "clients" in
Samaritan Girl, w h o o n l y a p p e a r f o r a f e w seconds in o n e o r t w o scenes. T h e i r i n d i v i d u a l i t y
rapidly stands o u t like s h a d o w s o n t h e canson paper, a surplus of black r o u g h l y spread w i t h
o n e m o v e m e n t o f t h e h a n d o r a f i n g e r m o i s t e n e d w i t h saliva. T h o s e p i c t u r e s c i r c u l a t e f r e e l y
e s c a p i n g t h e h a m m e r o f t h e a u c t i o n e e r as o n e e s c a p e s t h e t r u n c h e o n o f a c o p . P r e f e r r i n g
t h e f o r e c o u r t o f B e a u b o u r g t o t h e g a l l e r i e s o f t h e L o u v r e , K i m K i - d u k has f o u n d i n t h e
W e s t e n w o r l d a r e f l e c t i o n o n w h a t t h e Far East u s e d t o c o n t a i n ( a n d K o r e a d o u b t l e s s l y m o r e
t h a n a n y o t h e r c o u n t r y ) : a f o r m o f v i v i d , b r u t a l a n d c o r p o r e a l b e a u t y . "The final aim of the
acrobat- calligrapher is to dazzle. To move is the aim of the artist calligrapher The latter has
a more difficult role still than that of the actor, for he cannot nor should he prepare his role
through rehearsals. It's true that he trains daily. But as Dong Qichang said: one has to
acquire dexterity first, then to rediscover naivety and clumsiness."'' T h e n u m e r o u s prizes t h a t
K i m K i - d u k has b e e n f o r t u n a t e e n o u g h t o c o l l e c t i n festival s o v e r t h e s e last f e w y e a r s h a v e
m a d e us s l i g h t l y b l i n d t o t h e c o n c e r n f o r i m p e r f e c t i o n w h i c h is so o b v i o u s i n his a p p r o a c h .
A r e d s q u a r e o n a b l a c k b a c k g r o u n d . T h a t p i c t u r e a t t h e e n d o f Bad Guy is f i r s t o f all a n
i m a g e o f a n a b s o l u t e c o n t r a s t , t h e m e e t i n g o f t w o c o l o u r s w h i c h clash b r u t a l l y T h e r e d ,
e v e n t h o u g h i t o n l y r e p r e s e n t s a s m a l l p o r t i o n o f t h e s u r f a c e , is m o r e v i s i b l e t h a n t h e b l a c k .
H o w e v e r r e d a n d b l a c k a r e as c o m p l e m e n t a r y as t h e y a r e o p p o s i t e , as a u t u m n t o s p r i n g .
T h e r e d is m o r e v i v i d o n t h e b l a c k b a c k g r o u n d , t h e b l a c k is m a d e d a r k e r b e c a u s e o f t h e
r e d t o u c h . O n e c a n a l s o see in t h a t i m a g e a m e s s a g e o f h o p e : i n t h e m i d d l e o f t h e n i g h t
s h i n e s a l i g h t , a b e a c o n w h i c h s h o w s us a l a n d , t h e w a r m p r e s e n c e o f a h o m e .
It is q u i t e p o s s i b l e t h a t , l i k e t h e i m a g e o f t h e r e d s q u a r e o n a b l a c k b a c k g r o u n d , s o m e
films o n l y exist for o n e f u l g u r a t i n g scene. T h e w h o l e f i l m w o u l d be d e s t i n e d t o e m p h a s i z e
the beauty or the violence of o ne brief m o m e n t . Contrast allows the creation of a striking
effect. V i o l e n c e in K i m Ki-duk's films o n l y exist t o let o u t a m o m e n t o f gentleness... and
v i c e - v e r s a . T h e p r o p e n s i t y f o r a c h a r a c t e r t o a p p e a r n a s t y has as e q u i v a l e n c e o n l y t h e n e e d
t o be c o m f o r t e d . T h e Bad G u y i n c a r n a t e s t h a t c o n t r a s t . For m o r e t h a n a n h o u r t h e f i l m
e x p l o r e s h i s b r u t i s h e x t e r n a l a p p e a r a n c e , his w i l d w a y s . H e r e m a i n s s i l e n t a n d c h i l l i n g , l i k e
a m a r b l e s t a t u e l i n e d w i t h scars a r o u n d his n e c k . T h e n , s u d d e n l y , h e a r t i c u l a t e s a f e w w o r d s
' H si u n g Ping - m ing , Zhang Xu et la calligraphie cursive folle, Inst it ut d e H a u t e s Et u d e s Ch i n o i se s. Co l l . M e m o i r e d e I T H EC . p i 6 1 .
in a high-pitched voice, an incredibly painful sound like chalk scratching across a
b l a c k b o a r d , o r t h e s q u e a l o f a w o u n d e d d o g d r a g g i n g its b l o o d e d p a w . O n e imagines his
vocal cords have b e e n the v i c t i m of a blade. His violenc e a n d that of t h e w o r l d he hangs
around have rendered h i m m u t e , l i k e so m a n y of Kim Ki-duk's characters w h o f i n d in
s i l e n c e t h e c a l m t h a t l i f e has d e n i e d them.
In K i m K i - d u k ' s c i n e m a , t h e e s s e n t i a l s p r i n g s f r o m t h e v i o l e n t m e e t i n g o f t w o extremes,
f r o m characters or feelings d i a m e t r i c a l l y o p p o s e d . T h e contrast e x p l o d e s t h e n like a hard
p e b b l e m e e t i n g a f r a g i l e w i n d o w . T h a t l a n g u a g e has t h e e f f e c t i v e n e s s o f t h e "onomatopoeia
f o u n d e r s " o f m o d e r n K o r e a n l i t e r a t u r e , t o use P a t r i c k M a u r u s ' s e x p r e s s i o n . F o r example.
From the sea to the adolescents, a l o n g a n d essential p o e m f r o m C h ' o e N a m s o n published
in 1 9 0 8 , is n o t c o n s t r u c t e d d i f f e r e n t l y . It o p e n s w i t h a serie s o f b r u t a l onomatopoeias
e v o k i n g t h e crash o f waves.
T'yo...lssok, t'yo... Issok, t'yok, sswa... a
I strike, destroy, I break
mountains high like Taesan and rocks like houses
what is that, what is it
howling, my great strength, you know it, or not
I strike, I break, I destroy.
T h e sea, u n l e a s h e d , s w e e p s o v e r e v e r y t h i n g , t h e n , i n t h e last v e r s e s , t h e f u r i o u s o c e a n
lulls t h e a d o l e s c e n t s t e n d e r l y
that World those men are all hateful,
in the Middle of that there is only one thing I like
it's that Brave and Pure Adolescents
throw themselves into my arms as if for a Jolly Cuddle
come Adolescents I will embrace you'
Beyond the political message (youth, metaphor for modern Korea), the poem's
construction is o f a r a r e b r u t a l i t y T h e Chinese characters (here transcribed in b o l d and
c a p i t a l s ) s p l a s h o n t o t h e r e a d e r w h i l e t h e i r r e g u l a r verse s b r e a k t h e r h y t h m . B u t i n a f e w
stanzas, C h ' o e N a m s o n t u r n s t h e v i o l e n c e a g a i n s t itself, a n d t h e c r a s h o f w a v e s b e c o m e s a
g e n t l e r o l l i n g . K o r e a n p o e t r y , l i k e its c i n e m a , has b e e n p l a y i n g a l o t w i t h t h a t t y p e o f c o n t r a s t .
Lighting the blue lamp
I strum on my green lute
And mix my pain with the song
Of the caress of the lotus flute."
'• Pat rick M a u r u s, La Mutation de la poesie coreenne moderne ou les Onomatopees fondatrices, Ed . L'H a r m a t t a n , 1 9 9 9 .
' T r ad. Patricl< M a u r u s, Re vu e Neige d'Aout N ° 5 Au t om n e 2 0 0 1 , p i 0 8 .
" T r ad. Patrici< M a u r u s, Histoire de la litterature Coreenne. Ed . Ellip ses. p 4 3 .
 Kim Ki-duk's c i n e m a doesn't f u n c t i o n d i f f e r e n t ly t h a n t h e m e e t i n g of t h e p a i n f u l song
a n d t h e g e n t l e n e s s o f t h e f l u t e e v o k e d b y t h e f a m o u s p o e t H a n s o r H o n i n h e r sorrow in the
boudoir ( 1 7 t h c e n t u r y ) . In The Bow, o n e draws f r o m that same lute a sweet c h a n t or a
d e a d l y a r r o w . In t h e f i r s t e n d i n g t o Samaritan Girl, t h e f a t h e r m u r d e r s his d a u g h t e r , t h e n
b u r i e s h e r u n d e r t h e p e b b l e s . For t h e last t i m e h e p l a c e s t h e h e a d p h o n e s o n h e r w h i c h p l a y
Erik Satie' s Gymnopedie a n d s i l e n t l y c o n t e m p l a t e s t h a t s o o t h i n g l a n d s c a p e , b a t h e d i n its
grey pleasantness.
T h e d i r e c t o r is n o t so m u c h f a s c i n a t e d b y v i o l e n c e as b y o u r d e s p e r a t e e f f o r t s t o e s c a p e
i t . T h e c h a r a c t e r s m o v e f o r w a r d l i k e t h e f i s h i n The Isle w h i c h s w i m s , w i t h h a l f its f l e s h
a m p u t a t e d , o r t h a t o f Spring, Summer, Fall, Winter... and Spring w h i c h twists a n d turns,
w e i g h t e d w i t h its s t o n e . T h u g s , p r o s t i t u t e s , t h i e v e s , t r a m p s , p s y c h o p a t h s , r a p e d , b e a t e n ,
w o u n d e d , r e d u c e d t o silence... t h e y are c o n s t a n t l y t h r o w n o n t h e g r o u n d , d r a g g e d in t h e
d i r t o r t o w a r d s t h e d e e p e n d . In Spring, Summer, Fall, Winter... and Spring, the young
m o n k falls i n t o t h e r i v e r w h e n h e ' s t r y i n g t o c a t c h t h e g i r l b a t h i n g , t h e v e i l e d m o t h e r is
s w a l l o w e d b y a h o l e i n t h e i c e , l i k e t h e b o a t w h i c h lets i n w a t e r . A l l a r e t r y i n g t o e s c a p e
t h a t f a t a l m o v e m e n t , a n d t o rise a b o v e : t o pass t o t h e o t h e r s i d e , t o o p e n t h e Big Blue Door
[paran daemun, t h e o r i g i n a l t i t l e oi Birdcage Inn) a n d f i n d a n Empty House (pin jip, original
t i t l e oi 3- iron) or a s o o t h i n g landscape, an Isle.
O n e m o r n i n g i n 1 9 6 9 , K i m K i - d u k l e f t his v i l l a g e a n d f a m i l y h o u s e . H e w a s l e a v i n g f o r
Seoul, l i k e so m a n y Koreans at t h e t i m e . H e was h e a d i n g t o w a r d s a harsh life, t h a t o f
f a c t o r i e s , t h e n a r m y a n d s t r e e t . T h a t b r u t a l u p r o o t i n g o f a p a r t o f t h e p o p u l a t i o n has been
o n e o f t h e m a i n sources o f m o d e r n K o r e a n aesthetics. Films a n d novel s w i l l t e l l t h e s t o r y o f
m a n y dreams shattered o n the edges of Seoul. In t r a d i t i o n a l m e l o d r a m a , u r b a n p o v e r t y
g e n e r a t e d n o b l e f e e l i n g s o f c o u r a g e . K i m K i - d u k a n n o u n c e s i n t h i s v e r y f i r s t s h o t o f his f i r s t
f i l m t h a t m i s e r y d o e s n ' t g e n e r a t e c o m p a s s i o n b u t i n d i f f e r e n c e , if n o t c r u e l t y A m a n t h r o w s
h i m s e l f i n t h e H a n river , i n t h e c o l d u r b a n n i g h t . A t r a m p t a k e s o f f his c l o t h e s a n d j u m p s .
H e c o m e s o u t , a w a l l e t i n his h a n d , l e t t i n g t h e m a n d r o w n . S e o u l has i n v e n t e d a n o n y m i t y .
T h e v i l l a g e w a s a s p a c e w h e r e e v e r y o n e k n e w e v e r y o n e . In S e o u l , t h e b o d y has n o t h i n g b u t
trading value, is n o t h i n g m o r e than a prey for crocodiles. The city gathers together
a n o n y m o u s b o d i e s a n d generates e m o t i o n l e s s desires f o r flesh.
" D o you know what is the most marvellous and desirable thing in the eyes of the young
country folk who've gone to Seoul for the first time? What they desire, whatever anyone
says, are not the lights which are lit in the evening at the windows of the buildings, but the
people who come and go in those lights and what is new is the fact that a pretty girl is
standing one centimetre away from you in the bus. To be able to touch for a moment the
skin of the girls' wrists, or even rub against their thighs..." K i m S u n g ' o k w r o t e in t h e s h o r t
s t o r y Winter 6 4 . ' E v e r y t h i n g is s u m m e d u p in o n e w o r d : t h e c i t y is t h e s p a c e f o r p r o s t i t u t i o n .
I'm leaving
Don't cry
I'm leaving
Behind the white hills, the black and dry hills
Following the long dusty road which leads to Seoul
I'm going to sell my body... ^"
From that p o i n t of view, the c i n e m a of Kim Ki-duk will only have pushed a bit further
t h e f e e l i n g s a n d t h e m e s a l r e a d y e x i s t i n g , o f t e n p r o v i n g t o b e a m o r a l i s t . Samaritan Girl or
Bad Guy a r e t h e p o r t r a i t s o f t h o s e c i t i e s w h e r e a n o n y m i t y m a k e s p r o s t i t u t i o n so e a s y They
e s p e c i a l l y e v o k e t h e n o s t a l g i a f o r t h e " n a t i v e l a n d " ( t h e o m n i p r e s e n t n o t i o n of/Co hyang in
K o r e a ) , t h a t p l a c e o n e is s e a r c h i n g f o r b u t w h i c h o f t e n n o l o n g e r e x i s t s . T h e t o r n p h o t o i n
Bad Guy represents t h a t lost n a t i v e land, that time of innocence forever erased. In
Samaritan Girl, the policemen takes his p r o s t i t u t e d d a u g h t e r t o t h e ko hyang on her
m o t h e r ' s grave. H e puts her b a c k in a p u r e space, f a c i n g m o u n t a i n s a n d rivers, a n d nature's
m a j e s t y P u s h i n g t h e b o g g e d - d o w n car, s h e r e d i s c o v e r s t h e v a l u e o f e f f o r t , l i k e a t h e r a p y . In
t h e s a m e w a y , t h e m u r d e r e r i n Spring, Summer, Fall, Winter... and Spring comes back to
t h e t e m p l e a n d w a s h e s a w a y his u r b a n l i f e b y l i v i n g a c c o r d i n g t o t h e c y c l e o f n a t u r e . K i m
Ki-Duk's heroes o n l y suffer f r o m t h a t , t h a t d e f i n i t i v e split w i t h a past f o r e v e r g o n e , f r o m an
i m p o s s i b i l i t y t o g o b a c k t o t h e i r o r i g i n s . " Loose a n d u n a t t a c h e d , t h e y are lost letters in
Address Unknown. B e w i l d e r e d , t h e y f i n d s h e l t e r on the other side, i n nests , e n c l o s e d , s i l e n t
a n d w a r m spaces. T h e pleasure of voyeurism in K i m Ki-duk, in t h e p e e p - s h o w of Wild
Animals o r Bad Guy is n o t so m u c h l i n k e d t o t h e f a c t o f s e e i n g a n e x c i t i n g b o d y t h r o u g h
t h e glass, t h a n t o i m p r i s o n m e n t . T h e v o y e u r d o e s n ' t come f r o m seeing but f r o m not being
seen, being o u t of reach, sheltered f r o m the w o r l d , b e h i n d a t w o - w a y mirror. Kim Ki-duk's
v o y e u r is a r e f u g e e , t h e p e e p - s h o w b o o t h is n o d i f f e r e n t f r o m t h e f i s h t a n k i n w h i c h t h e
v i c t i m o f C o a s t Guard b l e e d s t o d e a t h , f r o m t h e l i t t l e f l o a t i n g h o u s e s o f The Isle, from the
m o n a s t e r y d r i f t i n g o n t h e l a k e in Spring, Summer, Fall, Winter... and Spring o r t h e b o a t in
The Bow. Still p l a y i n g w i t h c o n t r a s t s , o n e f a c e s a g a i n t h e f e e l i n g o f w e l l - b e i n g l i n k e d t o t h e
lost l a n d s c a p e , t h e i m m e n s i t y o f t h e m o u n t a i n s o f t h e a b a n d o n e d ko hyang, by locking
oneself in t h e smallest possible space. O n e finds in c r a m p e d spaces t h e i m m e n s i t y o f t h e
' Pat rick M a u r u s, Passeport pour Seoul. Ed . Act e s Su d , 2 0 0 2 .
Ki m CIni- ha The Road to Seoul. English t r anslat ion by D a vi d R. M c C a n n in The Middle Hour: Selected Poems of Kim Chi Ha,
St r ad f or d ville, NY: H u m a n Right s Pu b l i sh i n g Gr o u p , 1 9 8 0 , p 1 9 .
" A t rait c o m m o n to a great n u m b e r of co n t e m p o r a r y Ko r e a n d ir ect or . T h e sym b o l i c i m ag e b e i n g t h at of t h e h e r o (Lee Ch a n g -
d on g ) in Peppermint Candy, w h o sh o u t s at t he t rain w h i c h hur t les t o w a r d s h i m : "I ' m g oi n g b a c k w a r d s ! "
sky, n o t i n t h e s e n s e o f a C h r i s t i a n p a r a d i s e b u t i n t h e K o r e a n s e n s e w h i c h s u p p o r t s t h e i d e a
o f " n a t i v e l a n d " : "My characters turn to the sky in moments of crisis for the sky is witness
and judge of our History, the place of our ancestors and gods. It is thus an original source
comparable to the native land^ ^ ", says Y u n H u n g k i l , a u t h o r o f t h e n o v e l . The Monsoon.
T h e t w o last s h o t s o f The Isle c a n b e s e e n as t h e i m a g e - m a t r i x o f K i m K i - d u k ' s c i n e m a .
A c r i m i n a l h u n t e d d o w n b y t h e p o l i c e m o v e s , h a l f - n a k e d , i n a g i g a n t i c s w a m p . In t h e e n d
he f i n d s shelter in a g r o v e of reeds. T h e c a m e r a s u d d e n l y takes o n a v e r t i g i n o u s aerial p o i n t
o f v i e w . T h e n a k e d w o m a n is l y i n g d o w n i n a b o a t f u l l o f w a t e r . O n h e r p u b i s , a t u f t o f grass
is f l o a t i n g . It is o b v i o u s l y t h e r e e d s i n w h i c h t h e h u n t e d m a n has d i s a p p e a r e d . T h e island
w h i c h gives its t i t l e t o t h e f i l m is t h e w o m a n ' s s e x. M a n o n l y a s p i r e s t o l a n d o n i t , t o pass t o
the other side t o escape brutality.
E v e n if o n e has t o p a y her, t h e w o m a n is a s h e l t e r ( o n e sees i t v e r y c l e a r l y i n t h e a t t i t u d e
o f s o m e o f t h e " c l i e n t s " i n Samaritan Girl). A l l scale s a r e t u r n e d u p s i d e d o w n . T h e lake
b e c o m e s a b o a t , t h e t h i c k e t o f r e e d s a t u f t o f grass o r a n i s l a n d . T h e i m a g e o f t h e b o a t f u l l
of water reappears i n Samaritan Gid a n d Spring, Summer, Fall, Winter... and Spring. It
s h o w s us t h a t t h e r e is n e i t h e r b i g n o r s m a l l , n e i t h e r c o n t a i n e r n o r c o n t a i n e d . T h e b o a t h o l d s
t h e l a k e , t h e s m a l l a b s o r b s t h e b i g l i k e "the reflection of the distant mountains in the
dragonfly's pupil"".
T h e m o s t v i o l e n t , furious heroes aspire t o land o n a mysterious island, a secret shelter
w h i c h w o u l d have t h e shape o f a red square in an o c e a n of black. " T h e e n j o y m e n t o f b e i n g
enclosed r e a c h e s its p a r o x y s m w h e n , f r o m t h e b o s o m o f t h i s u n b r o k e n i n w a r d n e s s , i t is
possible t o w a t c h , t h r o u g h a large w i n d o w - p a n e , t h e o u t s i d e vagueness o f t h e w a t e r s , a n d
t h u s d e f i n e , i n a s i n g l e a c t , t h e i n s i d e b y m e a n s o f its o p p o s i t e . " " , w r o t e R o l a n d B a r t h e s
a b o u t C a p t a i n N e m o . T h e N a u t i l u s i n Crocodile w o u l d be, for e x a m p l e , that tiny bourgeois
l i v i n g - r o o m (sofa, p a i n t i n g o n t h e w a l l . . . ) t h a t t h e t h u g has p r e p a r e d a t t h e b o t t o m o f t h e
river, a n d w h e r e h e w i l l g o a n d c h a i n h i m s e l f t o his b e l o v e d a t t h e e n d o f t h e f i l m . In t h e
s a m e v e i n t h e o l d t r a m p dies, l o c k e d in a c o f f e e m a c h i n e . . . In his f i r s t f i l m s K i m Ki-duk
seems embarrassed by that paradox: o n e can escape violence by locking oneself u p b u t o n e
s u f f o c a t e s , o n e d r o w n s i n o n e ' s f i s h t a n k . H e w i l l f i n d a n a n s w e r i n t h e s p i r i t u a l w o r l d . For
t h e m o n k oi Spring, Summer, Fall, Winter... and Spring, as f o r t h e b u r g l a r o f 3-/ran, it's n o t
a question of locking oneself up physically b u t l o o k i n g f o r isolation in oneself t h r o u g h
meditation and physical exercises, a mix of dance, martial arts and tai-chi: "The
apprehension of heaven by man doesn't happen elsewhere than in the man himself
Heaven is not beyond the man, an elsewhere only reachable through a big leap (death or
" I n t e r vi e w e d by Cat t i y Ra p i n a n d Im H y e - Gy o n g in "T r e i z e e cr i va i n s c o r e e n s" C e n t r e N a t i o n a l d u livre, 1 9 9 5 , p 7 7 .
" Ce l e b r a t e d H a i k u .
" Ro l a n d Bar t hes, Mythologies, Point s Se u i l , 1 9 5 7 , p 8 2 . (English t r anslat ion by An n e t t e Laver s, Pal ad i n , 1 9 7 3 , p 6 6 . )
grace): Heaven is the most authentic part of the man as a being capable of transcending
himself more and more in his own humanity.""

T h e e n d o f Spring, Summer, Fall, Winter... and Spring r e p e a t s t h a t o f The Isle by giving

it a B u d d h i s t interpretation. The m o n k , harnessed to a heavy stone, painfully climbs the
m o u n t a i n , h o l d i n g a statue o f Bodhisattva. H a v i n g r e a c h e d t h e s u m m i t o n e s u d d e n l y realizes
that the lake o n e t h o u g h t was i m m e n s e , is o n l y a l i t t l e p o n d i n t h e m i d d l e o f a n i n f i n i t e
landscape, n o t m u c h b i g g e r t h a n t h e h o l e t h e m o n k w a s b o r i n g in t h e ice w i t h a n a x e . The
m a n w h o c l i m b s t h e m o u n t a i n w i t h his s t a t u e m a k e s t h e s a m e e f f o r t as t h e fish a t t a c h e d t o
its s t o n e . T h e B u d d h i s t c o n c e p t o f "tong" reappears here, that o n e can rather unpoetically
t r a n s l a t e b y t h e w o r d " i n t e r p e n e t r a t i o n " . I n t e r p e n e t r a t i o n o f t h e seasons, t h e c h a r a c t e r s ( t h e
disciple b e c o m e s t h e master), t h e m e n a n d t h e animals, a n d a b o v e all, t h e big a n d t h e small.
That great circulation b e t w e e n the elements o f t h e l a n d s c a p e is r e p r e s e n t e d by the lake.
W a t e r o b e y s t h e c y c l e o f s e a s o n s , i t t u r n s i n t o ice b e f o r e o p e n i n g u p t o t r a n s p a r e n c y by
b e c o m i n g l i q u i d a g a i n . . . : "The whole spectacle of nature - and first of all that of the sky-
makes us more sensitive to what manifests itself as a contrast"^; the spontaneous limpidity,
transparent and infinite, or the obscurity born from the screen (as soon as the mist appears).
The alternation to the work makes all reality vibrate on that double mode:
subtilization/ reification, fluidity/ density, transparency (of the landscape)/ opacity (of the
obstacle)"". To pass t o t h e o t h e r s i d e , t o pass t h r o u g h t h e d o u b l e s w i n g - d o o r w h i c h opens
onto the lake, allows the adoption of that natural rhythm, the contrasts of the great
a l t e r n a t i o n yin - yang. It is t h e o n l y w a y t o e x p e r i e n c e a g a i n t h e f e e l i n g o f p l e n i t u d e a n d t h e
lost Ko hyang. T h e m o n k m a n a g e s t o l e a p across t h e f r o z e n l a k e o n w h i c h t h e w o m a n was
s i n k i n g , t h e o l d s a i l o r in The Bow loses h i m s e l f in t h e sea a n d t h e s k y T h e c h a r a c t e r i n 3- iron
escapes t h e heavy b u r d e n o f t h e w o r l d . H e b e c o m e s invisible, floats like a spirit, creates in
h i m s e l f t h e e m p t i n e s s o f d e s e r t e d h o u s e s . H e says t o us t h a t all o f K i m K i - d u k h e r o e s , who
w e r e d e s p e r a t e l y l o o k i n g f o r a s h e l t e r , w e r e b l i n d e d b y t h e i r o w n p a i n . In t h e e n d t h e s h e l t e r
w a s in t h e m , l i k e t h e r e d s q u a r e is c o n t a i n e d i n t h e b l a c k .

Epilogue: The ot h er side of the doors

In 1 9 7 4 , N a m J u n e Paik p u t t h e f i n a l t o u c h t o o n e o f his m o s t f a m o u s i n s t a l l a t i o n s , T V
Buddha: a big statue of B u d d h a was seated facing a c a m e r a l i n k e d t o a T V m o n i t o r . The
effect was striking: B u d d h a was l o o k i n g at himself o n television! Has God become a
c a t h o d i c narcissist? In r e a l i t y , Paik w a n t e d t o say t h a t B u d d h a d o e s n ' t s u c c e e d i n e s c a p i n g
his o w n c o r p o r e i t y t o rise a b o v e his m a t e r i a l i t y " . B u t t h e w o r k w i l l s l o w l y e v o l v e , a n d e x i s t

" A n n e C h e n g , Histoire de la pensee chinoise, Seu i l , 1 9 9 7 , p i 7 3 .

My underlining.
" Frangois Jul l i en, Proces ou Creation. Une introduction a la pensee chinoise. Ed . d u Seu i l , 1 9 8 9 , p2 8 .
Se e : Ed it h D e ck e r - Ph i l l i p s Paik Video. Ed . Ba r r yt o w n , N ew- Yor k , pp7 4 - 7 9 .
i n v a r i o u s v e r s i o n s , f o l l o w i n g B u d d h a ' s m e d i t a t i o n t h r o u g h t h e y e a r s . In 1 9 8 2 , N a m June
Paik i n s t a l l e d TV Buddha No.X in t h e W h i t n e y Museum o f A m e r i c a n A r t in N e w York. The
s c r e e n w a s p l a c e d t h i s t i m e o n a p i l e o f e a r t h w h i c h r e p r e s e n t e d a m o u n t a i n . TV Buddha
N o . X t e l l s h o w B u d d h a , a f t e r s e v e n y e a r s o f m e d i t a t i o n s , has f i n a l l y p a s s e d t o t h e o t h e r s i d e .
He has " e n t e r e d t h e m o u n t a i n " (in K o r e a n , ip- san, "to enter the m o u n t a i n ", means to
become a monk). The Buddha lets h i m s e l f b e absorbed totally by the elements. He
d o m i n a t e s t h e m o u n t a i n b u t a t t h e s a m e t i m e , h e is d o m i n a t e d b y i t . H e is a t t h e s a m e t i m e
inside a n d outside the landscape. Paik has t u r n e d a v i d e o circuit into an illustration o f a
c y c l e (circuit) o f seasons a n d e l e m e n t s w h i c h i n t e r p e n e t r a t e . TV Buddha tells a f a m i l i a r
j o u r n e y , a j o u r n e y d e s c r i b e d in t h a t f a m o u s t e x t s o m e t i m e s a t t r i b u t e d t o t h e C h i n e s e m o n k ,
Ching Yuan: "Before having studied for thirty years, I used to see the mountain as
mountain and the water as water. When I managed a slightly deeper knowledge, I reached
the point when I saw that the mountain was not the mountain and the water was not the
water When I managed an even deeper knowledge, I saw that the mountain is water and
the water is mountain. But now, having the true knowledge, I am at peace. For I see again
the mountain as mountain and the water as water"". N a m J u n e P a i k ' s c a m e r a also a l l o w e d
t h e v i s i t o r t o see t h e B u d d h a i n s i d e t h e m o u n t a i n , m e a n i n g t o see t h e m o u n t a i n as i t r e a l l y
is, i n its g l o b a l i t y at t h e s a m e t i m e c o n t a i n e r a n d c o n t a i n e d .

K i m K i - d u k is t r y i n g t o m a k e o f c i n e m a a s i m i l a r s p i r i t u a l q u e s t . T h e m a t t e r is t o g e t r i d
o f false i m a g e s , o f all i l l u s i o n s , t o c h a n g e t h e v i e w p o i n t , t o pass t h r o u g h t h e d o o r a n d r e a c h
a k i n d o f j u s t a n d c l e a r v i s i o n . For c i n e m a a l o n e a l l o w s t h e b i g g e s t t o e n t e r t h e s m a l l e s t , t o
t u r n u p s i d e d o w n all scales . T h o s e scales t u r n e d u p s i d e d o w n , t h o s e b o d i e s i n t u r n h u g e
a n d t i n y w h i c h h a d u p s e t t h e f i r s t s p e c t a t o r s at t h e b e g i n n i n g o f t h e T w e n t i e t h C e n t u r y are
in n o w a y an artificial special effect, o r a n e w language t o d e c i p h e r . T h e y are t h e v i s i o n o f
the world at its rightest, t h e only vision which doesn't lock the elements in fixed
p r o p o r t i o n s . In t h e c a m e r a as i n B u d d h a ' s e y e s , t h e r e is n e i t h e r b i g n o r s m a l l . Cinema
d o e s n ' t d i s t o r t t h e w o r l d . It g i v e s i t b a c k its e x a c t p r o p o r t i o n s . In f i l m a f t e r f i l m , K i m K i - d u k
l e a r n s , f r o m t h e o t h e r s i d e o f t h e c a m e r a , t o see t h e m o u n t a i n as m o u n t a i n a n d t h e w a t e r
as w a t e r .

T ranslat ed f r om t h e C h i n e se by Yn h u i Park in £ssa/ s Philosophiques et Littemires, Seo u l N at i o n al Un i ver si t y Press, 1 9 9 7 , p 5 3 - 5 4 .

 KI M K I - P U K , S E R I A L P A I N T ER

Aiayed, t r a u m a t i s e d a n d t u r n i n g r e d . . . In K i m Ki-duk's films, bodies are

p r e s e n t e d in idyllic a n d lush landscapes w o r t h y o f r o m a n t i c postcards sent f r o m Korea. But
t h e b e s t d r a m a s a r e p l a y e d b e t w e e n t h e f l o u r i s h i n g m o u n t a i n s crests a n d t h e b l u e s u r f a c e s
o f t h e lakes a n d oceans.

B e n e a t h K i m Ki-duk's scalpel, b o d i e s , a n d t h e p e o p l e w h o live in t h e m , are t a k e n f r o m

life w i t h a surgical p r e o c c u p a t i o n f o r d e t a i l , an art o f p r e c i s i o n a n d a staging o f s u f f e r i n g
w h i c h is all Far-Eastern r e f i n e m e n t .

T h r o u g h a f i l m o g r a p h y as i n j e c t e d w i t h b l o o d as o n t h e e d g e , K i m K i - d u k s h o w s t h e still-
o o z i n g w o u n d s o f a K o r e a n s o c i e t y m a l t r e a t e d b y its h i s t o r y I n s u l a r a n d d i v i d e d , i n s e a r c h
o f h a r m o n y , it s e e k s m o r e t h a n e v e r t o a f f i r m its v i v a c i o u s n e s s a n d t o a b a n d o n its s h a c k l e s .
B u t , i n o r d e r t o f r e e o n e s e l f , o n e has t o f i r s t f e e l a l i v e .

S u r g e o n , a n t h r o p o l o g i s t o r s o c i o l o g i s t . . . K i m K i - d u k is a b i t o f e a c h . W h o else c o u l d
h a v e p r o b e d b e t t e r t h a n h i m t h e d e p t h s o f t h e K o r e a n s o u l ? H i s p e r s o n a l j o u r n e y , as c h a o t i c
as o r i g i n a l , has l e f t h i m c o n s t a n t l y o s c i l l a t i n g b e t w e e n t h e p h y s i c a l a n d m y s t i c a l w o r l d , a
t e n s e j o u r n e y w h i c h p a r t l y e x p l a i n s his f i l m s . F r o m t h e f o r g o t t e n v i l l a g e w h e r e h e w a s b o r n ,
in t h e Kyonsang province , in the heart of the m o u n t a i n s , t o Seoul, the capital of South
Korea, where h e a r r i v e d w i t h his p a r e n t s a g e d n i n e , it's t h e d i c h o t o m y b e t w e e n the
c o u n t r y s i d e a n d t o w n t h a t is c r e a t e d i n his m i n d . T h e a g r i c u l t u r a l s c h o o l h e w a s f o r c e d t o
a t t e n d , t h o u g h he w o u l d have liked t o c o n t i n u e s t u d y i n g at senior s c h o o l , t h e n f a c t o r y w o r k
a t s e v e n t e e n , a n d f i n a l l y a f i v e - y e a r m i l i t a r y s e r v i c e s t i n t w i t h t h e M a r i n e s , i n a w o r l d as
t e s t i n g o n t h e b o d y as o n t h e n e r v o u s s y s t e m . . . a r e e x p e r i e n c e s w h i c h f o r c e d h i m t o l i v e
t h r o u g h a large array o f physica l sensations. T h e n it w a s t i m e t o d e v o t e himself to the
s p i r i t u a l w o r l d , as a r e d e m p t i o n , giving himself to c o n t e m p l a t i o n . He withdrew to a
m o n a s t e r y as h e b e c a m e i n t e r e s t e d i n p a i n t i n g .

In 1 9 9 0 , h e l e f t t o s t u d y a r t i n F r a n c e a n d b e c o m e h i m s e l f . A f i n e o b s e r v e r o f t h e h u m a n
soul, he sharpened his b r u s h e s , k n i v e s a n d p e n c i l s a n d m a d e his w a y as a s t r e e t a r t i s t .
W o r k i n g w i t h models, Kim Ki-duk sketched characters w h o , t h o u g h trying hard t o remain
f r o z e n a n d b e s e e n as b e a u t i f u l i m a g e s , h a d n o i n t e n t i o n o f b e i n g s e n s i b l e . F r o m extreme
s e r e n i t y t o e x t r e m e p a i n , K i m K i - d u k t a k e s us n o w o n a t o u r a r o u n d a n ever-surprising
g a l l e r y o f l i v i n g p o r t r a i t s in w h i c h t h e p l a n t w o r l d , t h r o u g h its w i l d e s t l a n d s c a p e s , as w e l l as
t h e a n i m a l k i n g d o m in all its s p l e n d o u r , p a r t i c i p a t e . W i t h w o r k s o n e i m a g i n e s p a i n t e d w i t h
h u m a n fluids a n d b l o o d , K i m Ki-duk u n d e r t a k e s a vivisection o f t h e social flesh.
 Elements of a pictorial crim e: in carn at e paintings j

T h e t h r e e c o l o u r s o f t h e key c h a r t (red, g r e e n , blue) a p p e a r in t h e o p e n i n g m i n u t e s o f

The Bow ( 2 0 0 5 ) , K i m K i - d u k ' s t w e l f t h f i l m , as if t o i n d i c a t e t h a t w e h a v e c r o s s e d t o t h e o t h e r
s i d e , i n t o a f i c t i o n a l i z e d z o n e s i t u a t e d b e t w e e n t h e p i c t o r i a l w o r l d a n d t h e f i l m w o r l d . It is
a n a n o n y m o u s m a l e h a n d t h a t a p p e n d s as a k i n d o f seal t h o s e t h r e e d o t s o f c o l o u r , w i t h a
p a i n t b r u s h , o n t h e t e m p l e o f a y o u n g c h i l d w h o is t a k e n i n b y a n o l d m a n l i v i n g o n a b a r g e .

I m m e d i a t e l y , t h e e y e o f t h e s e r i a l - p a i n t e r has t a t t o o e d t h e s k i n o f o n e o f his p r e y s . For, i n

t h e a u d i o - v i s u a l w o r l d , K i m K i - d u k is s e l f - t a u g h t . H e is e s s e n t i a l l y a p a i n t e r w h o d r a w s f r o m
m o d e l s , a n d w h o has r e p l a c e d his easel, p e n c i l s a n d p a i n t b r u s h e s w i t h a m o v i e camera,
a n d , l i k e a n y s e l f - r e s p e c t i n g serial p a i n t e r , K i m K i - d u k has i r o n i c a l l y r e p r e s e n t e d himself
t h r o u g h t h a t p e n c i l d i p p e d i n b l o o d t h a t t h e s t r e e t a r t i s t i n Real Fiction sharpens carefully
b e f o r e e x e c u t i n g his v i c t i m s . O n c e t h e c r i m e s a r e c o m m i t t e d , t h e s a m e p e n c i l is u s e d t o
e x e c u t e p o r t r a i t s in g r a p h i t e w i t h f l u i d i t y a n d p r e c i s i o n . As a b a c k d r o p , as in all his f i l m s ,
K o r e a n s o c i e t y w i t h its l i m i t s , its t r o u b l e s a n d t r a u m a s a p p e a r s , t h e n , b y e x t e n s i o n , t h e w h o l e
o f h u m a n i t y In a f e w large s t r o k e s , o r in s u b t l e s i l k y l i t t l e t o u c h e s , w i t h l i g h t n e s s , n a i v i e t y a n d
gentleness, or w i t h t h e bite o f a furious pencil stroke, Kim Ki-duk depicts a cruel a n d v i o l e n t
w o r l d w h e r e b o d i e s are sold f o r very little m o n e y , a n d c u r r e n t business settled in b l o o d .

H i s w e a p o n s , o f t e n i m p r o v i s e d , o f f e r d i v e r s i t y : f i s h h o o k s (The Isle), a simple sheet of

paper rolled into a p o i n t t o attack a vital spot, a bevelled p i e c e o f glass {Bad Guy)...
e v e r y t h i n g t h a t slices, c u t s o r p i e r c e s t h e f l e s h is g o o d e n o u g h t o u s e .

A n d , as w i t h p a i n t i n g , o n e is n e v e r s h o r t o f c o l o u r s f o r K i m K i - d u k has a p r e d i l e c t i o n f o r r e d
w h i c h h e takes d i r e c t l y f r o m its s o u r c e : t h e h e a r t o f b l o o d vessels. A n d o n e c a n r e a d t h e f u t u r e
in t h e b l o o d as o t h e r s d o w i t h c o f f e e g r o u n d s o r D N A . T h e c h a r a c t e r ' s i n t e n t i o n s , like t h e i r rage,
t h e i r r e s e n t m e n t s , t h e i r pains a n d p r o b l e m s o f c o m m u n i c a t i o n m e a s u r e u p t o t h e b l o o d spilt.

T h a t o n e f i g h t s o v e r a s t o l e n p a i n t i n g , t h a t o n e p a i n t s o r has a n o s e b l e e d , t h e r e is a l w a y s
s o m e t h i n g t o r e d d e n t h e w o r k in t h e p a i n t e r ' s s t u d i o t h a t o n e o f t h e characters in Wild
Animals, t h e S o u t h K o r e a n a r t i s t - c r o o k , visits i n Paris. A n d i n t h e p u b l i c p a r k , i t d o e s n ' t
m a t t e r if t h e s c u l p t u r e is C a m i l l e C l a u d e l ' s , a f e w t r a i l s o f b l o o d a r e e n o u g h t o t a k e i t a w a y
f r o m its c o r p s e - l i k e w h i t e n e s s a n d r e v i v e i t .

B l o o d is a p i c t o r i a l s u b s t a n c e w h i c h r e p r e s e n t s t h e c h a r a c t e r s a n d i m p r i n t s t h e i r v i t a l
energy right to the extreme, w h e t h e r it b e i n t h e s u f f e r i n g o f d o g s b e a t e n t o d e a t h f o r
g a s t r o n o m i c p u r p o s e s i n Address Unknown and w h o s e b l o o d pigments the m u d , or that of
a n u n b e a r a b l e a b o r t i o n i n Coast Guard, o r e l se t h a t o f p r o o f o f p l e a s u r e a n d t h e d e f l o w e r e d
h y m e n f o r t h e g i r l i n The Bow, w h o bleeds b e t w e e n h e r legs i n h e r v i r g i n a l c h i l d b r i d e ' s
dress... After all, o n l y t h e living can b l e e d .

A n d those d e v i o u s , w o u n d e d , t o r m e n t e d characters w h o pause at length b e t w e e n pain

a n d pleasure are t h e m o d e l s o f a s t u d i o o f m o r p h o - p s y c h o - s o c i o l o g y t h a t Kim Ki-duk w o u l d
direct. Analysed f r o m every angle, s o u n d e d , closely e x a m i n e d , their organs o n edge, t h e y
w a l k in t h e f o r e g r o u n d .

T h r o u g h K i m Ki-duk's films, w e visit t h e t a b l e a u x o f a Korean malaise w h o s e t r u t h t h e

d i r e c t o r has c h o s e n t o e x a c e r b a t e . A n d h e starts w i t h his o w n t r u t h , b y c u l t i v a t i n g t h e a r t o f
self p o r t r a i t , if n o t o f a u t o b i o g r a p h y W i t h Coast Guard it is his e x p e r i e n c e i n t h e marines
w h i c h is r e v i e w e d a n d f a n t a s i z e d a b o u t . H i s f i l m o g r a p h y h e l p s us t o f i n d h i m at v a r i o u s
p e r i o d s o f his l i f e . In o r d e r t o i d e n t i f y h i m , w e s o m e t i m e s h a v e t o l o o k f o r t h e s e r i a l - p a i n t e r
who has w r i g g l e d his w a y into the narrative. Thus, i n Address Unknown, one of the
t e e n a g e r s , J i h u m , is t h e s o n o f a S o u t h K o r e a n w a r v e t e r a n . H e is i n l o v e w i t h a one-eyed
g i r l w h o d o e s n ' t a c c e p t h e r h a n d i c a p . W h e n h e h a n d s h e r a r e a l i s t i c p o r t r a i t h e has made
o f her, s h e t e a r s i t v i o l e n t l y . T h i s a d o l e s c e n t b o y is, i n r e a l i t y , K i m K i - d u k . In Wild Animals,
t h e d i r e c t o r d e p i c t s his o w n e x p e r i e n c e as a p e n n i l e s s p a i n t e r i n E u r o p e a n d s h o w s how
o n e can easily b e d r a g g e d i n t o t h e spiral o f t h e m a f i a in o r d e r t o pay t h e r e n t for o n e ' s
s t u d i o . In Real Fiction, t h e artist d r a w i n g t h e m o d e l transcends h i m s e l f a n d takes revenge,
as w e h a v e a l r e a d y s e e n e a r l i e r . M o r e c o n t e m p l a t i v e . Spring, Summer, Fall, Winter... and
Spring refers t o t h a t p e r i o d w h e n h e h a d r e t r e a t e d i n t o t h e c a l m o f a m o n a s t e r y : he e v e n
f i l m s h i m s e l f i n his o w n r o l e a t t h e e n d o f t h a t m a s t e r p i e c e o f f o u r s e a s o n s a n d f i v e p e r i o d s .

The unreasoned catalogue of Tw entieth Cen t u ry a r t

From reality t o e x t r e m e reality, e v e n t o sur-reality, K i m K i - d u k ' s f i l m o g r a p h y lets us

glance t h r o u g h t h e pages of an u n r e a s o n e d c a t a l o g u e o f T w e n t i e t h C e n t u r y art.

In f r a m e w o r k s w i t h a s o m e t i m e s I m p r e s s i o n i s t f l a v o u r , h u m a n b e i n g s a n c h o r e d i n t h e i r
Realism fight against t h e i r o w n d e m o n s w i t h Expressionism, a n d m o s t o f t e n t i p over i n t o
Fauvism. But through all those sequences which sometimes take on the ways of
p e r f o r m a n c e s , it's a l w a y s l i f e w h i c h is e x p r e s s e d w i t h t h e s a m e v i g o u r .

T h e u n r e a l d o o r s t o t h e f l o a t i n g m o n a s t e r y i n Spring, Summer, Fall, Winter... and Spring

( 2 0 0 3 ) o p e n e a c h season o n a n e w t a b l e a u . A n Impressionist canvas w h i c h t h e spectator
e n t e r s e a c h t i m e w i t h s h e e r d e l i g h t . T h e i n c r e d i b l e v i e w s o f t h o s e l a n d s c a p e s , as if s t r a i g h t
f r o m E d e n , f o r c e us t o c o n t e m p l a t e a n d f e e l b l i s s f u l . It is a v a r i a t i o n o n t h e s a m e t h e m e ,
w i t h a l a n d s c a p e w h i c h traverses t h e seasons o f t h e year a n d life. O n e goes t h r o u g h t h e
stages i n a b o a t , r o c k e d b y t h e w a t e r ' s u n d u l a t i o n s .

W h i l e painters like M a n e t , Monet or Renoir proceeded w i t h small fine touches to

celebrate t h e natural panoramas an d played w i t h the variations of light t h r o u g h the d a y Kim
K i - d u k has c h o s e n t o use t h e s e a s o n s f o r his i n i t i a t i v e f a b l e . B u t e a c h o f his f i l m s has t h e
s a m e p r e o c c u p a t i o n t o r e p r e s e n t n a t u r e i n its m o s t p a r a d i s i a c a s p e c t s , s o m e t i m e s a l m o s t t o
t h e p o i n t o f b e i n g n a i v e . N a t u r e is p r e s e n t e d i n its b e s t l i g h t , a p p e a s i n g a n d g e n e r o u s , i n
t h e v i e w s o f t h e f l o a t i n g h o u s e s i n The Isle, i n t h e a u t u m n a l p u b l i c p a r k i n Samaritan Girl
o r t h a t , m o r e s p r i n g - l i k e , i n Bad Guy. Even t h e m i l i t a r y c a m p l o c a t e d at t h e b o r d e r w i t h
N o r t h K o r e a i n Coast Guard, a z o n e w i t h t h e r e p u t a t i o n o f b e i n g t h e m o s t m i l i t a r i z e d in t h e
w o r l d , l o o k s j u s t l i k e a t o u r i s t site w h e r e n a t u r e l o v e r s d o n ' t h e s i t a t e t o h a v e t h e i r p i c t u r e
t a k e n . D a n g e r a n d v i o l e n c e are m o r e l i k e l y t o b e f o u n d in t h e c i t y B u t o n e c a n also lose
o n e ' s l i f e i n t h o s e a p p a r e n t l y i n o f f e n s i v e l a n d s c a p e s . O r b e its c a p t i v e . B u t it's a q u e s t i o n
t h e n o f g o i n g b a c k t o o n e ' s r o o t s . Yeo-Jin, o n e o f t h e t e e n a g e p r o s t i t u t e s i n Samaritan Girl
is t a k e n b a c k b y h e r f a t h e r t o n a t u r e w i t h o u t h e r r e a l i s i n g . W h e n , o n t h e s h o r e o f t h e river,
h e r f a t h e r p a i n t s p e b b l e s in y e l l o w t o d e s i g n a c i r c u i t f o r his d a u g h t e r t o l e a r n t o d r i v e , i n
that deserted landscape h e o f f e r s us a n i n s t a l l a t i o n p i e c e w o r t h y o f L a n d A r t . A n d t h o u g h
t h e y o u n g g i r l is n o t s h o w n f l o a t i n g a t t h e s u r f a c e o f t h e w a t e r b u t b u r i e d i n t h e s i l t a t t h e
r i v e r ' s e d g e , h e r f a c e , p r o b a b l y a s l e e p f o r all e t e r n i t y , gives h e r t h e c a l m a i r o f t h e Pre-
Raphaelite " O p h e l i a " , by t h e British painter, John Everett M i l l a i s .

After the divine, enchanting and redeeming countryside, comes the city extreme and
i n f e r n a l . It is a n e s t o f F a u v i s m a n d E x p r e s s i o n i s m i n w h i c h K i m K i - d u k e x p l i c i t l y s u m m o n s
a f e w f i g u r e s d e a r t o h i m . Let's s t a r t w i t h t h e f l e e t i n g e v o c a t i o n o f Kees v a n D o n g e n in Wild
Animals: one of the female characters is v e r y a t t a c h e d t o a p o r t r a i t , t h a t o f a Parisian
woman w i t h a hat, signed b y t h e Fauvist master, k n o w n at t h e e n d o f t h e Nineteenth
C e n t u r y in Paris f o r p a i n t i n g t h e p o r t r a i t s o f c a b a r e t f e m a l e artists a n d d e f e n d i n g t h e c a u s e
of poverty-stricken prostitutes. W e c a n n o t be surprised at t h a t w i n k of the director toward s
t h e painter.

B u t n o t h i n g c o m p a r e s t o t h e p l a c e o c c u p i e d b y E g o n S c h i e l e . T h a t p a i n t e r is r e g u l a r l y
m e n t i o n e d , to t h e e x t e n t t h a t he b e c o m e s a r e c u r r e n t motif. K i m Ki-duk pays c o n s t a n t
t r i b u t e t o t h e a r t i s t w h o m u n d o u b t e d l y h e c o n s i d e r s o n e q u a l f o o t i n g . For h a v i n g p r o d u c e d
highly erotic drawings, so-called "immoral" for the time, Schiele, that virtuoso of
Expressionist representatio n of t h e b o d i e s h a d , a m o n g o t h e r things, b e e n accuse d o f rape
a n d t h e s e d u c t i o n o f m i n o r s , b e f o r e b e i n g i m p r i s o n e d at t h e b e g i n n i n g o f t h e T w e n t i e t h
Century H i s w o r k , s e n s u a l a n d r a w , p r e d o m i n a n t l y c h a r a c t e r s o n a r o u g h b a c k g r o u n d , as
w e l l as his t o r m e n t e d l i f e , m a k e h i m a r o m a n t i c f i g u r e w i t h w h i c h K i m K i - d u k c a n easily
i d e n t i f y . T h e V i e n n e s e p a i n t e r is e v e n a l m o s t a t t h e h e a r t o f s o m e i n t r i g u e s f o r , i n Bad Guy,
S u n - h w a , t h e y o u n g f e m a l e s t u d e n t , is d r a w n i n t o a p l o t a n d e n d s u p b e c o m i n g a p r o s t i t u t e
a f t e r b r o w s i n g a m o n o g r a p h o n S c h i e l e w h o s e p a g e s h e has t o r n o u t b e f o r e r u n n i n g a w a y .
T h e d r a w i n g r e p r e s e n t e d a c o u p l e h a v i n g sex, as if a p r e m o n i t i o n o f t h e f a t e r e s e r v e d f o r
her. A s f o r H a n g - g i , t h e m a n w h o l u r e s w i t h M a c h i a v e l l i s m t h a t s t u d e n t o n t h e s t r e e t , his
i m a g e is f r o m t i m e t o t i m e s u p e r i m p o s e d w i t h t h e g e n u i n e s e l f - p o r t r a i t o f S c h i e l e . L i k e t h e
t w o y o u n g sisters w h o posed together for Schiele and w h o s e p o r t r a i t is e v e r - p r e s e n t in
Birdcage Inn, t h e t w o y o u n g rival w o m e n in t h a t f i l m b e c o m e closer a n d closer u n t i l t h e y
split a n d appear u n i t e d by t h e same b l o o d . W h e n an illegitimate c o u p l e makes love o n a
b e d o f roses (Real Fiction) or e l s e w h e r e , w e are always r e m i n d e d o f t h e settings o f s o m e o f
Schiele's paintings. For, after painting, we can still remain at t h e heart of Viennese
sensations... since scenes w h e r e pain a n d h a e m o g l o b i n feature heavily i m m e d i a t e l y r e m i n d
us o f t h e A c t i o n i s t s .

S o m e t i m e s t h e l i v i n g w a n t t o b e as h a r d as s t o n e a n d a t t e m p t i n e r t i a . In a p u b l i c p a r k
the teenage girls i n Samaritan Gid sit n e x t t o a series o f h y p e r - r e a l i s t i c s t a t u e s whose
u n i f o r m w h i t e n e s s c o n n e c t s us t o t h e a r t o f s t a t u a r y a n d e v o k e s , i n p a s s i n g , a c e r t a i n f a m i l y
i d e a l . T h e v e r y c o l o u r f u l y o u n g girls s l i d e i n n e x t t o t h e m a n d e m p h a s i z e t h e i r v e r y own
existence, t h e i r lack o f f a m i l y references a n d t h e fact t h a t t h e y are t h e m s e l v es m a d e o f flesh
a n d b l o o d , t h o u g h u n d o u b t e d l y in full d i s i n c a r n a t i o n . A b i t like t h a t e n i g m a t i c K o r e a n girl
w i t h o u t a n a m e in Wild Animals w h o endlessly u n d u l a t e s in t h e p e e p s h o w b o o t h . T h o u g h
a l i v e , s h e l o o k s m o r e l i k e a n a u t o m a t o n . A t t h e o p p o s i t e is C o r i n n e , i n t h e s a m e f i l m , w h o
is t r y i n g t o e r a s e all t r a c e o f h e r l i f e b y s l i d i n g i n as a trompe I'oeil in t h e landscape. That
y o u n g H u n g a r i a n w o m a n , h a l f - n a k e d , w h o s e b o d y is d i p p e d i n w h i t i n g , p l a y s a t b e i n g t h e
V e n u s d e M i l o . She c o m p e t e s w i t h t h e real s t a t u e s i n a p u b l i c p a r k , a m o n g w h i c h is o n e b y
C a m i l l e C l a u d e l t h a t she d r e a m s o f possessing. A l i v i n g s c u l p t u r e m o u n t e d o n a m a k e s h i f t
p e d e s t a l , C o r i n n e is also t h e s e x u a l s l a v e o f a m a n w h o d o e s n ' t h e s i t a t e t o b e a t h e r w i t h a
f r o z e n m a c k e r e l . Sh e e n d s b y f i n i s h i n g o f f h e r t o r m e n t o r w i t h t h e f a t a l b l o w o f a mackerel
i n his g r o i n . T h i s b e a u t i f u l m e t a p h o r d e r i v e d f r o m maquereau (meaning p i mp and mackerel
i n F r e n c h ) is a w e l l - d e s e r v e d e n d i n g f o r t h a t m a n w h o has c o n s t a n t l y b e h a v e d l i k e a p i m p
w i t h his f i a n c e e , a n d a b o u t w h o m K i m K i - d u k m a k e s us g e n u i n e l y l a u g h . For K i m Ki-duk
c a n b e h u m o r o u s as w e l l as c a p a b l e o f t h e g r e a t e s t p o e t r y . Spring, Summer, Fall, Winter...
and Spring p r e s e n t s us w i t h a m a g n i f i c e n t s e q u e n c e w h i c h is b e t w e e n S u r r e a l i s m and a
f e l i n e v e r s i o n o f B o d y A r t : t h e m o n k g r a b s t h e w h i t e c a t , d i p s t h e t i p o f its t a i l i n b l a c k i n k
a n d , u s i n g it as a b r u s h , c a s u a l l y w r i t e s o n t h e f l o o r a t e x t c o m p o s e d o f i d e o g r a m m e s t h a t
his e x - d i s c i p l e w i l l h a v e t o c a r v e o u t w i t h a k n i f e .

Body Art and Living Art, w e are n o t surprised t o learn t h a t K i m Ki-duk's m e t h o d o f

s h o o t i n g also o w e s m o r e t o p e r f o r m a n c e t h a n t o c o n t e m p l a t i o n , since t h e f i l m s are s h o t in
m i n i m a l t i m e a n d a t a s u s t a i n e d r h y t h m . Just t h e n e c e s s a r y t i m e , t h e o n e o f l i f e .

Tests and prints: photographic revelations

Between pictorial representation and l i f e t h e r e is also p h o t o g r a p h y , a m e d i u m with

m u c h presence in K i m Ki-duk's c i n e m a , an art w h i c h t h e d i r e c t o r accords special care,
w i t h o u t us e v e r k n o w i n g f o r s u r e h o w h i g h l y h e t h i n k s o f i t .

A f t e r a l l , w e w i t n e s s t h e m u r d e r o f t h e p h o t o g r a p h e r i n Real Fiction. The author of that

s y m b o l i c d e a t h is o f c o u r s e t h e s t r e e t a r t i s t . T h r o u g h t h a t m e t a p h o r , t h e t w o a r t f o r m s , t h a t
naturally fight over t h e r e p r e s e n t a t i o n o f r e a l i t y have in a w a y p r o v o k e d e a c h o t h e r in a
d u e l b e n e a t h o u r e y e s . It's a n o l d q u a r r e l t h a t d a t e s b a c k t o t h e e n d o f t h e Nineteenth
Century a n d the invention of photography: an episode o n w h i c h the director returns here
w i t h caustic h u m o u r .

A p a r t f r o m that, each t i m e photographs appear, they offer the spectacle of an uncertain

identity damaged, muddy scattered. An integrity to recompose, if p o s s i b l e . In Address
Unknown, i t is t h e h i s t o r i c m e m o r y w h i c h is s t a i n e d w i t h m u d , l i k e t h e t w o K o r e a s , those
t w o sisters a t w a r . I n d e e d o n e f i n d s a f a m i l y p h o t o i n a S o u t h K o r e a n v i l l a g e , a t a place
w h e r e N o r t h Koreans h a v e t a k e n shelter.

A s f o r S u n - h w a , t h e y o u n g s t u d e n t l e d a s t r a y in Bad Guy, s h e has f o u n d a t o r n p h o t o o n

t h e b e a c h . T h o u g h she tries her best t o r e c o n s t r u c t t h e p i c t u r e , t h e c o u p l e r e p r e s e n t e d have
n o face, n o i d e n t i t y . . . . j u s t like t h e c o u p l e she m a k e s w i t h Hang-gi, her p i m p . W i t h the
p h o t o placed o n her mirror, Sun-hwa gradually finds the colours. The features of the face
a p p e a r as t h e c o u p l e r e v e a l t h e m s e l v e s a n d e a c h o f t h e p r o t a g o n i s t s lets t h e i r f e e l i n g s f o r
the other show. The mute woman i n 3- iron, abused and reduced to a kind of conjugal
slavery by her w e a l t h y h u s b a n d , f i n d s a g r a i n o f l o v e a n d h u m a n i t y w i t h Tae-suk, that
enigmatic character who enters t h e flats t e m p o r a r i l y d e s e r t e d by their occupants. Sh e
f o l l o w s h i m i n his t r i p s u n t i l t h e d u o a r r i v e a t a p h o t o g r a p h e r w h o has t a k e n t h e p i c t u r e o f
27 A

t h a t g i r l . W i t h a p a i r o f scissors, s h e h a s t e n s t o d o a j i g s a w p u z z l e o f t h a t o v e r l y n e a t p i c t u r e
o f herself. S h e m a k e s a s o r t o f C u b i s t w o r k w h i c h s h e r e p l a c e s i n its f r a m e . In t h a t s a m e
f i l m , t h e r i t u a l o f t h e i n t r u d e r , Tae-suk, c o n s i s t s i n t a k i n g a p h o t o o f h i m s e l f i n f r o n t o f a
p o r t r a i t o f t h e f l a t ' s o c c u p a n t s , as if t o e n t e r a f a m i l y h i s t o r y f r o m w h i c h h e is e x c l u d e d , o r
t o s i m p l y p r o v e his e x i s t e n c e . For it's o n l y g h o s t s w h i c h d o n o t r e g i s t e r o n f i l m , a n d d e s p i t e
a p p e a r a n c e s , Tae-suk is n o t a g h o s t . T h r o u g h t h a t p h o t o g r a p h i c a c t , w h i c h is a l s o a r e f i n e d
e x e r c i s e in C o n c e p t u a l A r t , o p e r a t e s a b e a u t i f u l p h o t o w i t h i n a p h o t o w i t h i n . . . E v e r y w h e r e
e l s e , e a c h t i m e t h e c h a r a c t e r s t r y t o g e t t o g e t h e r , o r s e p a r a t e , if it's n o t t h r o u g h a camera,
it is m i r r o r s a n d o t h e r r e f l e c t i n g s u r f a c e s s u c h as w a t e r , w h i c h u n d e r t a k e t o r e v e a l t h e r e a l i t y
o f a r e l a t i o n s h i p . T h e characters s p e n d t i m e t a k i n g pictures o f e a c h o t h e r in K i m Ki-duk's
u n i v e r s e . T h e y s t e p as m u c h as t h e y c a n b e h i n d t h e l e n s , l i k e t h e t w o f r i e n d s i n Samaritan
Girl w h o c a p t u r e t h e i r i m a g e o n t h e i r m o b i l e p h o n e , o r r e f l e c t e d as a c o u p l e o n t h e s u r f a c e
of the water, or o n a c o m p u t e r screen. As f o r t h e y o u n g g i r l i n The Bow who takes
photographs of the one for w h o m h e r h e a r t b e a t s , t h a t g e s t u r e is as m u c h a m u t e love
d e c l a r a t i o n as a e x t r a m e a n s t o s e d u c e h i m .

P h o t o g r a p h y is a b o v e all a n e w p r e t e x t t o f r a m e , c e n t r e , c o n t r o l a n d d i s c i p l i n e e m o t i o n s
a n d feelings. B o d i e s a p p e a r t h r o u g h fences, cages a n d b a r b e d w i r e . T h e soldiers p a r k e d in
their c a m p i n Coast Guard appear b e h i n d their fences in a w o r l d o n e feels is l i k e a
c o n c e n t r a t i o n c a m p . A n d w h o b e t t e r t h a n t h e s m i l i n g girl w h o j u m p s t h r o u g h t h e w i n d o w
f r a m e i n Samaritan Girl t o s h o w us h e r s u f f o c a t i o n , h e r n e e d t o l e a v e t h e f r a m e . T h e d o o r s
t o t h e m o n a s t e r y in Spring, Summer, Fall, Winter... and Spring o p e n a n d close o n various
a n i m a t e d t a b l e a u x . T h e chapters o f a life. F u r t h e r m o r e , t h e m o n k , w h e n he w a n t s t o e n d
his l i f e , c u t s o u t l i t t l e b i t s o f p a p e r o n w h i c h h e w r i t e s t h e w o r d " c l o s e d " a n d s t i c k s it o n his
m o u t h , his e y e s a n d n o s t r i l s . H e o b s t r u c t s t h o s e o r i f i c e s , c e a s e s t o f e e l , s m e l l , a n d f i n a l l y t o
breath.

Prison-body and attem pts at escaping

i n K i m K i - d u k ' s f i l m s , t h e b o d y is a p r i s o n o n e s e e k s t o e s c a p e . T h a t is e x p l a i n e d b y a
h i s t o r i c r e a l i t y : i n K o r e a t h e r e is t h e s t r o n g p r e s e n c e o f t h e A m e r i c a n a r m y B u t o n e is also
t h e prisoner o f o n e ' s n a t u r e , o n e ' s desires a n d , a b o v e all, o n e ' s needs, especially sexual.

T h e b o d y e s p e c i a l l y is t h e p l a c e f o r a ll s u f f e r i n g a n d if o n e g r a p p l e s w i t h all e x t r e m i t i e s
p o s s i b l e it is t o b e t t e r t o e s c a p e i t o r p r o v e t h a t o n e is r e a l l y a n d t r u l y m a d e o f f l e s h a n d
b l o o d . Sado-masochism is p r e s e n t i n all its c u t s , all its b u r n s , a n d s u t u r e s . In The Isle, the

46
h e i g h t o f C o r e is a l m o s t r e a c h e d : H e e - J i n , t h e f e m a l e c h a r a c t e r , p u s h e s f i s h h o o k s i n t o h e r
vagina. Hyun-Shik, t h e m a n s h e l o v e s , has a l r e a d y a t t e m p t e d e a r l i e r t o k i l l h i m s e l f b y
swallowing some.

E v e r y o b j e c t is t h u s d o u b l e - e d g e d , a n d c a n b e d i v e r t e d t o m o r e p a i n f u l issues. T h e b o w
is, a t t h e s a m e t i m e , a m u s i c a l i n s t r u m e n t a n d a d e a t h d e v i c e , e v e n if t h e o l d m a n o n l y uses
it i n a d i s s u a s i v e w a y H e m e r e l y s h a r p e n s his a r r o w s t o k e e p a w a y t h e p r e t e n d e r s , b u t
n e v e r , i n The Bow, d o t h o se blades t a k e s o m e o n e ' s life.

Yet K i m K i - d u k n e v e r h e s i t a t e s p l a y i n g w i t h t h e l e v e l o f p a i n t o l e r a n c e o f t h e s p e c t a t o r :
c a n n i b a l i s m , z o o p h i l i a , i m m o l a t i o n b y f i r e , e y e - g o u g i n g [Address Unknown), the trade of
c o r p s e s i n Crocodile a r e s o m e o f t h e e x p e r i e n c e s a n d a d v e n t u r e s o f t h e e x t r e m e . In s o m e
s c e n e s o f The Isle, t h e r e is t h e p o s s i b i l i t y f o r l a t e n t s c a t o l o g y In The Bow t h e r e is t h e
p o s s i b i l i t y o f u r o l a g n i a as w e l l as a n i n c e s t issue. T e e n a g e p r o s t i t u t i o n b r u s h e s w i t h t h e i d e a
o f p a e d o p h i l i a i n Samarian Girl. O n e witnesses several rapes a n d a b o r t i o n s w o r t h y of t h e
b u t c h e r ' s . In Address Unknown, dogs are t o r t u r e d f o r g a s t r o n o m i c purposes w h i l e , in t h e
s a m e f i l m , a y o u n g w o m a n has a z o o p h i l i c r e l a t i o n s h i p w i t h h e r p e t d o g .

A l s o i n t h a t s a m e f i l m , a s o n r e g u l a r l y t o r t u r e s his m o t h e r . T h a t A m e r i c a n - K o r e a n boy,
n a m e d C h a n g - g u k , g o e s as f a r as c u t t i n g t h e b r e a s t o f t h e w o m a n w h o p r o v e s h e is m i x e d
race b e f o r e k i l l i n g himself. T h e m o t h e r , m o r t i f i e d b y her c h i l d ' s d e a t h , sinks i n t o a k i n d o f
n e c r o p h i l i c c a n n i b a l i s m . She c h e w s o n h e r s o n ' s d e a d f l e s h , as if t o s w a l l o w h e r own
t r a g e d y a n d r e t u r n it t o n o t h i n g n e s s . To g o b a c k i n t i m e a n d e r a s e t h e scars. To d i g e s t t h e n
g e t r i d o f t h e t r a c e s o f w h a t s h e c o n s i d e r s a m i s t a k e a n d f o r w h i c h she has a l r e a d y p a i d a
high price: giving birth t o a child conceived w i t h the A m e r i c a n enemy.

Human b est iary : Anim als and A n i m o si t y

If K i m K i - d u k ' s c h a r a c t e r s a r e m u t e , it's p e r h a p s b e c a u s e v i o l e n c e is o f t e n m u t e d . B u t
a b o v e all it's b e c a u s e t h e d i r e c t o r b e l i e v e s m o r e i n acts t h a n i n s p o k e n w o r d s . A n d as a u t i s t i c
as t h o s e c h a r a c t e r s m i g h t b e , t h e i r s i l e n c e b r i n g s us c l o s e r t o o u r a n i m a l s i d e . In 3- iron, the
m u t e S u n - h o u a , a b u s e d b y h e r h u s b a n d , is m u c h m o r e c h a t t y t h a n Tae-suk, w h o d i s c r e e t l y
e n t e r s p e o p l e ' s h o m e s . It is t h e a n i m o s i t y a n d t h e b e s t i a l i t y o f h u m a n b e i n g s w h i c h c a n b e
r e a d i n t h o s e c h a r a c t e r s . H a n g - g i , t h e m a l e c h a r a c t e r i n Bad Guy stares a t S u n - h w a w i t h
p r e d a t o r y e y e s t h e s e c o n d h e sees her. T h e n h e v i o l a t e s h e r w i t h a l o n g kiss, as if t o a l l o w
his a n i m a l i m p u l s e s t o s p e a k . N o t o n e w o r d is e x c h a n g e d b e t w e e n t h e m b e f o r e t h e e n d o f
t h e f i l m . T h e c a u s e o f H a n g - g i ' s m u t i s m is t o b e f o u n d i n t h e scar h e has o n his n e c k : i t a l l o w s
us t o i m a g i n e s e v e r a l p o s s i b i l i t i e s , all d r a m a t i c , o f c o u r s e . O n e t h i n k s f i r s t a b o u t a s e t t l i n g o f
s c o r e s b e t w e e n p i m p s w h i c h w o u l d h a v e d e p r i v e d h i m f o r e v e r o f his v o i c e . B u t , i n a n o t h e r
f i l m . Real Fiction, o n e o f t h e p r o t a g o n i s t s w i t h t h e s a m e scar o n his n e c k , c o n f i d e s t h a t h e
has b e e n t h e v i c t i m o f t o r t u r e s i n f l i c t e d b y t h e m a r i n e s d u r i n g his stay i n a m i l i t a r y c a m p .

And like small animals, human beings h a v e as m u c h survival instinct for they are
i n h a b i t e d by a p r i m i t i v e rage. H o w e v e r , f r o m anthropology to a n t h r o p o m o r p h i s m , men's
f a t e is n o t so d i f f e r e n t f r o m t h e f a t e o f t h e s m a l l a n i m a l s t h a t t h e l i t t l e b o y t o r m e n t s f o r his
o w n e n t e r t a i n m e n t i n Spring, Summer, Fall, Winter... and Spring. T h e same t h i n g goes for
t h a t t i n y t o r t o i s e w h i c h launche s i n t o crossing t h e m o t o r w a y d u r i n g t h e credits in Birdcage
Inn. It has m o r e c h a n c e t o s u r v i v e t h a n t h e d o g s h u n t e d a n d b e a t e n b y Eye o f D o g , t h e
c a n i n e b u t c h e r in Address Unknown. Why are t h e y v i o l e n t l y t r e a t ed b e f o r e b e i n g p u t t o
d e a t h ? So t h a t t h e i r f l e s h b e c o m e s m o r e t e n d e r , a n d t h u s , m o r e s a v o u r y . T h e y w a i t f o r t h e
end of the Calvary w i t h w i s d o m and h u m a n i t y . B e s i d e s , Eye of D o g , doesn't feel any
d i f f e r e n t f r o m t h e m , n e i t h e r f o r his l o o k o f d o m i n a n t m a l e a m o n g s t a p a c k o f d o g s , n o r
w h e n h e c r e e p s i n t o t h e i r c a g e , e v e n less w h e n h e r e p l a c e s t h e m o n t h e g a l l o w s a t t h e e n d
o f t h e f i l m . T h e y s u f f e r t h e i r f a t e a n d b u r d e n as o n t h e W a y o f t h e Cross. Like t h o s e t w o
o t h e r dogs j o i n e d t o g e t h e r like Siamese t w i n s in t h e s a m e f i l m : t h e y h a v e r e m a i n e d stuck
t o g e t h e r after coitus, b o t h t r y i n g t o g o o ff in t h e o p p o s i t e d i r e c t i o n . Little c h a n c e o f survival
f o r all t h o s e f r a g i l e c r e a t u r e s , b u t t h e y h a v e a t least t h e m e r i t o f g i v i n g h u m a n b e i n g s s o m e
lessons i n l i f e . L i k e t h e m , t h e m a n u s u a l l y f e e l s t r a p p e d b y his s e x u a l needs.

The fem ale anim al; a m any-faced creature

To p e r s e v e r e o n t h a t a n t h r o p o m o r p h i c l i n e , o n e n o t i c e s t h e t i t l e o f t h e f i l m Birdcage Inn,
in w h i c h Kim Ki-duk brings together t w o y o u n g w o m e n of i n c o m p a t i b l e m o o d s in t h e same
i n n , l o o k i n g s l i g h t l y l i k e t w o k i n d s o f b i r d s . A s i n The Bow i n its p u r e f a s h i o n , w h e r e two
r e a l h e n s s y m b o l i z e m a r r i a g e , o r i n Bad Guy in its v u l g a r v e r s i o n , w h e r e t h e i m a g e o f t h e
poultry comes t o m i n d w i t h t h e prostitutes, light, b o u n c i n g a n d sometimes feathered,
s u d d e n l y start t o argue v i o l e n t l y o v e r t h e i r clients. B u t in K i m Ki-duk's films, t h e woman
w h o is p r e d o m i n a n t is e s p e c i a l l y beautiful a n d f l u i d , as if originating f r o m t h e aquatic w o r l d .
A s l o n g as t h e f i s h e r m a n d o n o t p u l l h e r o u t o f h e r n a t u r a l e n v i r o n m e n t , s h e r e i g n s o n t h e
w a t e r s , a b o v e a n d b e l o w . T h u s it is o f t e n i n t h e s h a p e o f a f i s h t h a t s h e a p p e a r s t o us. B u t
the fisherman never h a v e t h e b e s t d e s t i n i e s i n s t o r e f o r her. E l e c t r o c u t e d , asphyxiated,
t o r t u r e d , r e d u c e d t o a Sashimi s t a t e . . . fish r e f l e c t t h e f a t e r e s e r v e d f o r w o m e n , i n t h e p r o p e r
as w e l l as t h e f i g u r a t i v e s e n s e . In s p i t e o f t h a t , t h e y h a v e a s u r v i v a l i n s t i n c t . L i k e t h a t m u t e
and bewildered c a r p f a c e d w i t h c u t t i n g u p , a n d w h i c h , still a l i v e by god knows what
m i r a c l e , is r e t u r n e d t o t h e w a t e r t o c a l m l y g o o n its w a y . In The Isle, t h e prostitute w h o pays
a v i s i t t o H u y n - S h i k has n o s u c h l u c k . She is a f o o l h a r d y f i s h t h a t has s t a r t e d t o s p a w n i n a
lake i n h a b i t e d b y a n o t h e r fish. Realizing t h a t she w o n ' t be a b le t o u n d o t h e shackles f i x e d
b y t h e m i s t r e s s o f t h e p l a c e a n d t h a t e s c a p e w i l l b e a s l o w d e a t h i n t h e o p e n air, s h e chooses
t o t u m b l e i n t o t h e w a t e r o f t h e lake a n d d r o w n . T h e a q u a t i c w o r l d c o n t a i n s creatures w i t h
no compassion for one another.

Fish a n d f i s h e r m e n w a t c h e a c h o t h e r c l o s e l y w i t h o u t u n d e r s t a n d i n g e a c h o t h e r t o o w e l l ,
t h r o u g h t h e p a r t i t i o n w a l l s w h i c h c o u l d b e t h o s e o f a fish t a n k , o r s o m e t h i n g s i m i l a r : b e h i n d
t h e p e e p - s h o w b o o t h i n Wild Animals, o r t h r o u g h t h e t w o - w a y m i r r o r i n Bad Guy... until
H a n g - g i t r i e s t o m a k e c o n t a c t w i t h K i m S u n - h w a b y t h e l i g h t o f his l i g h t e r , f o r e x a m p l e . A n d
s i n c e m e n a n d w o m e n f e e d o n s o m e k i n d o f d e p e n d e n c y t o w a r d s e a c h o t h e r , i t is K i m S u n -
h w a w h o b r e a k s t h e glass t o c o m e c l o s e r t o H a n g - g i . In C o a s f Guard, Mee-Young, whose
f i s h e r m a n f i a n c e has b e e n k i l l e d w h i l e t h e y w e r e m a k i n g l o v e , b e c o m e s m a d : s h e w a l k s a
f i s h o n a l e a d . O n e s a c r i f i c e d . A s if it w a s h e r o w n a s p h y x i a t e d l i f e w h i c h w a s t e e t e r i n g l i k e
t h a t , i n t h e o p e n air, h a n g i n g o n t h e e n d o f a s t r i n g .

B u t m u c h m o r e t h a n a m e r e c r e a t u r e , o n e r e a l i z e s t h a t t h e w o m a n is a n i s l a n d , as i n t h e
f i l m b e a r i n g t h e s a m e t i t l e . S h e is a t e r r i t o r y w h i c h h o l d s b a c k t h e m e n i n c a p t i v i t y t h a n k s
t o t h e p o w e r s o f h e r sex . A n d if t h e w o m a n is a n i s l a n d , s h e is a l s o a f e r t i l e g r o u n d t h a t falls
p r e g n a n t a n d aborts w i t h t h e greatest suffering: Mee-Youn g h a v i n g slept w i t h m o s t o f t h e
s o l d i e r s o f t h e c a m p i n C o a s f Guard, a n d , c o v e r e d in b l o o d after her u n b e a r a b l e a b o r t i o n ,
seeks refuge i n t o a fish t a n k t o s o o t h e herself.

A m o n g f i s h e r m e n , since the b e g i n n i n g of t i m e , n u m e r o u s superstitions k e e p alive t h e

fear o f a f e m a l e presence o n boats. Thos e sinners are s u p p o s e d t o be s y n o n y m o u s with
c a l a m i t y . In K i m K i - d u k ' s f i l m s , t h e f i s h e r m e n h a v e n o f e a r o f s w a l l o w i n g f i s h h o o k s a n d
desire w o m e n passionately

T h e w o m a n h e r e is a k i n d o f g o d d e s s , a n e n i g m a t i c c r e a t u r e , if n o t a f a n t a s t i c a n d u n r e a l
b e i n g w h o d o e s n ' t h e s i t a t e f r o m s w i m m i n g in t r o u b l e d w a t e r , i n t h e m u d d y a n d n o c t u r n a l
d e p t h s o f The Isle, f o r e x a m p l e . Sh e is a s e a c o w , p e r h a p s e v e n a m e r m a i d , a s i r e n .

A n d l i k e A d a m a n d Eve i n P a r a d i s e , i t is a w o m a n w h o c r e a t e s t r o u b l e i n t h e r e g u l a r
r h y t h m o f t h e s e a s o n s in Spring, Summer, Fall, Winter... and Spring: she arrives a n d arouses
t h e s e x u a l i t y o f a n i n n o c e n t y o u n g m a n . In 3- iron, the only female presence doesn't bring
l u c k t o Tae-suk, b u t r a p i d l y s e n d s h i m t o p r i s o n .

A she-devil in spite o f herself, at best t h e w o m a n is a t e m p t r e s s w h o a r o u s e s man's

d e s i r e , a t w o r s t , a p r o s t i t u t e . B u t w h a t e v e r she is, w h e t h e r s h e is p a i d o r n o t f o r h e r s e r v i c e s .
the w o m a n is v e n a l a n d perverse b y n a t u r e , a n d t h a t as s o o n as s h e is a c h i l d , as t h e
t e e n a g e r s i n Samaritan Girl p r o v e . Eun-ok, t h e o n e - e y e d t e e n a g e r i n Address Unknown,
e n d s b y d e n y i n g t h e a m o r o u s f e e l i n g s h e has f o r J i h u m , i n o r d e r t o s t a r t a r e l a t i o n s h i p w i t h
t h e G I : i n r e a l i t y , s h e has d e l i b e r a t e l y c h o s e n t o sell h e r s e l f i n o r d e r t o b e a b l e t o a f f o r d a
n e w e y e . T h i s t r a n s a c t i o n t h e n s e e m s n a t u r a l , l i k e t o p r o s t i t u t e o n e s e l f o c c a s i o n a l l y , as H e e -
Jin, t h e h e r o i n e o f The Isle, does.

A n d e a c h t i m e , w h a t w o m e n a r e b l a m e d f o r is t h e c o m m o t i o n p r o v o k e d i n t h e m a n ,
w h i c h p u s h e s h i m g e n e r a l l y f i r s t t o possessiveness, t h e n t o c r i m e . For w o m e n i n K i m Ki-
d u k ' s films are b r u t a l i z e d , b e a t e n , r a p e d , f o r c e d i n t o p r o s t i t u t i o n . . . b u t d e e p inside, t h e y
a r e as g e n e r o u s as a G e i s h a , a n d t h a t , w h a t e v e r t h e i r a g e . To s u r r e n d e r t h e r i g h t s o n her
b o d y d o e s n ' t a l w a y s d e p e n d o n a c o n t r a c t t o w h i c h o n e s u b m i t s , f o r c e d a n d c o m p e l l e d , as
i n Bad Guy. T h e w o m a n i n K i m K i - d u k ' s f i l m s is l i k e V a s u m i t r a , t h a t I n d i a n p r o s t i t u t e w i t h
a n i n d e l i b l e s m i l e w h o g i v e s h e r b o d y w i t h i n f i n i t e p l e a s u r e as a n o f f e r i n g t o h e r j o y f u l
c l i e n t s . T h e t e e n a g e g i r l i n Samaritan Gid uses h e r as a m o d e l . " S h e s h o w e d t h e m m a t e r n a l
love. M e n are like babies w h e n t h e y have sex," she declares, d r e a m - l i k e , e s t a b l i s h i ng an
obvious connection between love a n d p r o s t i t u t i o n . A s f o r t h e m a n , h e is m o r e o r less
p u s h e d i n t o t h e r o l e o f p i m p a n d e x p e c t s t h e w o m a n t o satisfy h i m w h e n e v e r he needs to
b e . A t t h e s a m e t i m e , h e f i n d s it d i f f i c u l t t o a c c e p t t h e i d e a t h a t s h e d o e s n ' t sell h e r b o d y . . .
as is t h e case f o r t h e b r o t h e r o f E u n - o k i n Address Unknown, f o r e x a m p l e . A n d in t h a t
s t r a t a g e m , t h e s p e c t a t o r is as m u c h a v o y e u r as a n accomplice.

N o t easy f o r e a c h o f t h e p r o t a g o n i s t s t o g o b e y o n d t h e i r t r u e n a t u r e . T h e i r r e l a t i o n s h i p
is f a t a l , a n d t h a t f i n d s its f u l l m e a n i n g w h e n t h e s e x u a l a c t a n d t h e e c s t a s y b e c o m e the
p r e c i s e m o m e n t w h e n o n e o f t h e c o u p l e i n Coast Guard is a c c i d e n t a l l y k i l l e d . Y o u n g - k i l is
s h o t b y a c c i d e n t i n t h e t h r o e s o f l o v e - m a k i n g , w h e n h e is b e t w e e n t h e t h i g h s o f his b e l o v e d .
T h e f i s h e r m a n is s h o t l i k e g a m e b y t h e s o l d i e r K a n g . T h a t d e a t h i n t h e m i d s t o f l o v e - m a k i n g
w h i c h is also t h e " l i t t l e d e a t h " , t h e m e t a p h o r f o r s e x u a l o r g a s m , is a r e c u r r e n t m o t i f i n K i m
K i - d u k ' s c i n e m a . It is a d r a m a t i z e d d e a t h .

Choreographed death: fr o m r ea l i t y to "the w ater-beyond"

Like l o v e - m a k i n g , d e a t h is c h o r e o g r a p h e d as o f t e n as p o s s i b l e . O n e never dies t o o

q u i c k l y or t o o easily in K i m Ki-duk's films, o n e lingers in t h a t i n - b e t w e e n . Death is a
l i b e r a t i o n o n e has t o d e s e r v e . T h e h e r o i n Bad Guy b l e e d s all t h e t i m e , o n e t h i n k h e ' s d e a d
s e v e r a l t i m e s a n d e a c h t i m e h e rises f r o m t h e a s h e s w i t h t h e s a m e f e r v o u r . T h e discreet
s u i c i d e o f t h e p r o s t i t u t e i n Birdcage Inn is a f a i l u r e : s h e is s a v e d b y h e r a r c h e n e m y while
t r a c e s o f h e r b l o o d a r e d i s c r e e t l y a b s o r b e d b y t o i l e t p a p e r . In The Bow t h e o l d m a n tries t o
s t r a n g l e h i m s e l f w i t h t h e r o p e o f t h e b o a t i n w h i c h his b e l o v e d sails a w a y T h e m i x e d r a c e
g u y i n Address Unknown i n f l i c t s a s l o w a n d e x e m p l a r y d e a t h o n his s t e p - f a t h e r , Eye o f D o g .
It's a d e a t h t h a t s e e m s t o h a v e b e e n p r e m e d i t a t e d f o r a l o n g w h i l e . H e h i m s e l f w i l l d i e i n
a s p e c t a c u l a r w a y a f t e r f a l l i n g f r o m his m o p e d : h e is f o u n d w i t h his h e a d p l a n t e d i n t h e i c e ,
his t w o legs p o i n t i n g t o w a r d s t h e sky. H i s m o t h e r w i l l h a v e t o c r e a t e a c i r c l e o f f i r e a r o u n d
h i m t o f r e e his c o r p s e f r o m its p r i s o n o f i c e a n d r e t r i e v e h i m . O n e i m a g i n e s s h e w a n t s t o
g i v e h i m a w o r t h y b u r i a l : i n f a c t , i t is h e r o w n b o d y w h i c h b e c o m e s h e r s o n ' s t o m b , f o r s h e
begins t o ingest h i m .

B e y o n d those set-up killings, s o m e sequences create confusion b e t w e e n reality a n d

fantasy In C o a s f Guard, a character in c a m o u f l a g e merges w i t h t h e night. H e is l i k e a
c r e a t u r e h i d i n g in t h e s h a d o w , s p y i n g o n t h e soldiers like a h u n t e r o n t h e l o o k o u t f o r g a m e .
As f o r Tae-suk, t h e m a l e c h a r a c t e r i n 3- iron, h e is a g h o s t l y p r e s e n c e w h o , a t t h e e n d o f t h e
f i l m , seems t o have a c q u i r e d t h e gift o f invisibility. T h a t passing-through-walls seems t o have
f o u n d a s o l u t i o n t o l o v e : t o l i v e i n his b e l o v e d ' s s h a d o w , in t h e p r o p e r as w e l l as t h e
f i g u r a t i v e sense. K i m K i - d u k ' s f i l m s o f t e n m e e t a f a n t a s t i c o - m y s t i c a l o u t c o m e . E a c h e n d i n g
is o p e n t o a v a r i e t y o f p o s s i b l e i n t e r p r e t a t i o n s .

W h e r e to find the cosmic balance w h i c h w o u l d pacify the relationship b e t w e e n men

and women? The Brahmanic m y t h o l o g y ever-present in Korea, offers p e r h a p s an i d e n t i t y
t o t h a t m y t h i c c r e a t u r e t h a t is t h e w o m a n i n K i m K i - d u k ' s c i n e m a . O n e t h i n k s a b o u t t h e
spouse of Shiva, M a h a d a v i , t h e goddess w i t h a t h o u s a n d faces a n d a t h o u s a n d names. She
is t h e E a r t h - M o t h e r , f e r t i l e a n d m u l t i p l e w h o g a t h e r s i n h e r a l l t h e o t h e r s a n d t h u s a b s o r b s
all t h e i r q u a l i t i e s a n d c h a r a c t e r i s t i c s . S h e is, f o r e x a m p l e , D u r g a t h e i n a c c e s s i b l e , w h o f i g h t s
t h e d e m o n s w h o h a u n t t h e m e n , o r e l se M i n a k s h i , a w a r r i o r a n d c o n q u e r o r o f t h e w o r l d ,
w i t h f i s h e y e s , w h o m o n e t h i n k s a b o u t w i t h t h e h e r o i n e o f The Bow, w h o , brought by the
w a t e r , s e d u c e s all t h e f i s h e r m e n , i n c l u d i n g h e r a d o p t i v e f a t h e r , w h o is t h e f i r s t t o w a n t t o
m a r r y h e r as s o o n as p o s s i b l e . T h e f a i t h f u l s p o u s e o f S h i v a , s h e is i n h a r m o n y w i t h h i m . H e
has a c o b r a a r o u n d his n e c k , c a r r i e s a t r i d e n t a n d h o l d s i n his h a n d a s m a l l percussive
i n s t r u m e n t . H i s e m b l e m is t h e l i n g a m , a p h a l l u s . O n c e a g a i n , o n e t h i n k s a b o u t The Bow,
t h e f i l m , b u t also t h e i n s t r u m e n t w i t h a d o u b l e f u n c t i o n w h i c h is t h e b o w a n d which
d o m i n a t e s t h a t n a r r a t i v e . T h e b o w is h e r e a s y m b o l o f m a l e p o w e r . It is a n o b j e c t t h e o l d
m a n b r a n d i s h e s p r o u d l y i n his b e l o v e d ' s d i r e c t i o n as s h e p u s h e s h i m a w a y . H e c a r r i e s o n
r e g a r d l e s s , s t r e t c h i n g his b o w t o p r o v e his v i r i l i t y a n d v i g o u r . T h e b o w i n t h e f i l m is a t t h e
same time a death device, a tool to predict the future and a very delicate musical
i n s t r u m e n t . It is b o t h c r e a t i o n a n d d e s t r u c t i o n , l i k e S h i v a t h e c o s m i c d a n c e r w h o shares
w i t h t h e c h a r a c t e r o f t h e o l d m a n i n The Bow a q u a s i - c o s m i c e n e r g y as w e l l as harmony
H e c a n d i s a p p e a r i n t o t h e w a t e r ' s d e p t h s a f t e r his w e d d i n g a n d g i v e h i m s e l f t o d e a t h , a n d
t h e p l e a s u r e o f his y o u n g w i f e b e c o m e s v i s i b l e b y m a n i f e s t i n g i t s e lf i n b l o o d . T h e o l d m a n
has c o m e b a c k f r o m t h e " b e y o n d " t o d e f l o w e r his b e a u t i f u l v i r g i n b r i d e i n t o t a l q u i e t .

One reaches t h e r e a " b e y o n d " (au-dela), or, m o r e a p p r o p r i a t e l y a "water-beyond"

(eau-dela), since it's i n w a t e r t h a t h u m a n beings continuall y f i n d some comfort. Water
u n i f i e s , r e g e n e r a t e s , p a c i f i e s . K i m K i - d u k ' s c h a r a c t e r s b a t h e i n t h e sea, m e d i t a t e u n d e r t h e
r a i n o r c r e a t e f r o m b a t h r i t u a l s a m e a n s o f c o m m u n i c a t i o n b e t w e e n t h e m s e l v e s , as i n The
Bow o r Samaritan Girl. It is a m a t e r n a l sea w h i c h is s o m e t h i n g l i k e a m n i o t i c f l u i d . A f l u i d
w o r l d , magical and everlasting.

The geography of Korea, its i n s u l a r i t y , has s o m e t h i n g t o d o w i t h t h e appeasement

g e n e r a l l y o f f e r e d b y t h e a q u a t i c w o r l d i n K i m K i - d u k ' s f i l m s . M o r e o v e r , t h e sea e v e n u n i f i e s
couples as i m p r o b a b l e as t h e Democratic People's Republic of Korea, the communist
r e g i m e o f N o r t h K o r e a , a n d S o u t h K o r e a , w h o s e p o l i t i c a l s y s t e m is u n i t a r y E x a c t l y l i k e t h e
t w o K o r e a n i m m i g r a n t s w h o e n t e r i n t o a c o n t r a c t i n Wild Animals: Blue O c e a n , t h e artist,
originates f r o m t h e S o u t h , a n d Red M o u n t a i n , t h e M a r t i a l Arts specialist, f r o m t h e N o r t h .
K o r e a is a t t h e s a m e t i m e b o t h o n e a n d d i v i d e d . It is a t t h e h e a r t o f t h e t e n s i o n s , i t m a k e s
unification difficult but not impossible.

The red of the C o m m u n i s m of the D e m o c r a t i c People's Republic, a n d the blue w h i c h

r e p r e s e n t s S o u t h K o r e a . . . A n d also t h e r e d o f b l o o d a n d t h e b l u e o f t h e w a t e r a n d seas
w h i c h b o r d e r t h a t A s i a n p e n i n s u l a . . . t h a t is w h a t o n e r e m e m b e r s o f t h e t e n s e w o r l d c r e a t e d
by K im Ki-duk. A blue w o r l d like t h e negative cosmic forces of t h e Yin, a n d a red w o r l d like
t h e positive c o s m i c forces o f t h e Yang, t w o o p p o s e d entities w h i c h interlace in t h e m i d d l e
o f t h e K o r e a n f l a g . A s y m b o l itself s u r r o u n d e d w i t h t h e f o u r e l e m e n t s i n t h e f o u r c o r n e r s o f
t h e f l a g : w a t e r o p p o s e d t o f i r e , a n d e a r t h t o sky. In his f i l m s , K i m K i - d u k t e n d s t o w a r d s a
h a r m o n y w h i c h plays w i t h o p p o s i t e s . B e t w e e n o p p o s i t i o n a n d b a l a n c e , b e t w e e n positive
a n d negative energies, b e t w e e n m e n a n d w o m e n , it is t h e i m m u t a b l e o r d e r o f t h e w o r l d
t h a t K i m K i - d u k d e p i c t s t h r o u g h his w o r k .
 SP O K EN W 0 RI 7 S IN S U S P EN S E

"What's requisite for communication Is a defect or

'fault'. Communication enters like death through a

chink in the armour. What's required is an overlapping

of two lacerations, mine, yours."

Ge o r g e s Bat aille, Guilty.

Cruel game

In Spring, Summer, Fall, Winter... and Spring, t h e o l d m o n k ' s d i s c i p l e , still a

c h i l d , t o r t u r e s v a r i o u s a n i m a l s (a f i s h , a f r o g a n d a s n a k e ) b y a t t a c h i n g a s t o n e t o e a c h . For h i m
it is j u s t a g a m e , a g a m e c h i l d r e n p l a y I n n o c e n c e is c r u e l f o r it has n o i d e a o f t h e h a r m it d o e s ,
a n d f o r i n n o c e n c e n o t h i n g e v e r r e a l l y h a p p e n s . T h e o n l y w a y t o b e c o m e a w a r e o f w h a t is
h a p p e n i n g is t o s u f f e r o n e s e l f . T h a t is t h e r e a s o n w h y t h e o l d m o n k ties a s t o n e t o t h e c h i l d .
T h e n a n d o n l y t h e n d o e s h e p e r c e i v e t h e o t h e r s i d e o f i n n o c e n c e , t h e c r u e l t y w h i c h is its p r i c e .

T h a t is t h e first v i o l e n c e , n o t o n l y u n a b l e t o a c c o u n t f o r itself, t o j u s t i f y itself, b u t e v e n

d e p r i v e d of hatred, or affect, a n d o n l y practised t h r o u g h playing a game. A n d that game,
p a r a d o x i c a l l y has n o less t e r r i b l e e f f e c t s : if w h a t h a p p e n s as a g a m e d o e s n ' t r e a l l y h a p p e n ,
o r d o e s n ' t h a p p e n for real, t h e d a m a g e d o n e is i r r e p a r a b l e : t w o o f t h e a n i m a l s i n Spring...
d i e f r o m t h a t c r u e l t y In t h e s a m e w a y , t h e o n e - e y e d g i r l i n Address Unknown has l o s t h e r
e y e f o r n o r e a s o n : t h e r e is n o c o m p e n s a t i o n f o r t h a t loss, n o m e a n i n g , f o r , as h e r b r o t h e r
w h o has d e p r i v e d h e r o f i t , says, " i t w a s j u s t a g a m e ! " It d i d n ' t r e a l l y h a p p e n , b u t i n r e a l i t y
it d i d , i r r e v e r s i b l y It w a s n o t f o r r e a l , b u t t h e g i r l has r e a l l y l o s t h e r e y e . T h i n g s a r e n o t t a k e n
seriously, lives have n o meaning, n o t h i n g e c h o es t h e i r misery, n o t h i n g justifies t h e m ,
however, they h a p p e n , irreparably.

T h a t is w h y t h o s e t h i n g s , t h e d e a t h o f t h e a n i m a l s , t h e e y e o f t h e g i r l r e m a i n i n s u s p e n s e ,
d e m a n d i n g a t o n e m e n t : f o r as t h e y a r e t h e y e n v e l o p t h e w o r l d , i n t h e s h a p e o f a n a c c o u n t
t o s e t t l e , w i t h a h a l o o f a b s u r d i t y . T h a t c r u e l t y is n o t a n s w e r a b l e f o r i t s e l f : w h i l e o n e c a n n o t
a v o i d q u e s t i o n i n g t h e m e a n i n g , it r e m a i n s in excess in r e l a t i o n t o e v e r y possible m e a n i n g ,
it r e m a i n s p u r e l y g r a t u i t o u s . For it is n o t o n l y v i o l e n c e , a n o b s e s s i v e t h e m e i n K i m K i - d u k ' s
f i l m s , w h i c h is g r a t u i t o u s : i t is, e v e n m o r e s o , t h e g r a t u i t o u s n e s s o f w h a t is h a p p e n i n g w h i c h
i n i t s e l f is v i o l e n t . L i f e n e v e r a n s w e r s t h e c a l l f o r m e a n i n g , i t d o e s n ' t h o l d o n t o t h e p r o m i s e
for m e a n i n g t h a t language f o r m u l a t e s . Life r e m a i n s in suspense, o r t h e language, like a
p r o m i s e o f m e a n i n g , has t o o m u c h o f i t .

T h a t is w h a t a n o t h e r w o m a n i n Address Unknown e x p e r i e n c e s in a t e r r i b l e w a y : her life

is s p e n t w r i t i n g t o a n A m e r i c a n s o l d i e r w h o s e c h i l d s h e has, l e t t e r s w h i c h i n v a r i a b l y c o m e
b a c k . Absurdum: literally w h a t makes a dull sound w h e n one bashes it, w h a t doesn't
r e s p o n d . T h e f i l m u n f o l d s in t h e e m p t i n e s s o f t h e w a i t c a u s e d b y t h a t address w i t h o u t a
r e c i p i e n t , that sign too m a n y w h i c h has n o m e a n i n g f o r a n y b o d y . W h a t t h e l e t t e r says is n o t
important: a simple declaration of existence, but without a recipient - of an absurd
e x i s t e n c e t h u s , u n n e c e s s a r i l y a d m i t t i n g its o w n a b s u r d i t y e x p o s i n g i t s e l f u n n e c e s s a r i l y t o
t h a t d e a d l y b l o w t h a t is s i l e n c e , a n d t o t h e u n b e a r a b l e i n d i f f e r e n c e o f t h i n g s . T h a t is t h e
very first v i o l e n c e , that from which all t h e o t h e r s f l o w : l a n g u a g e , t h r o u g h w h i c h the
c h a r a c t e r risks a s k i n g f o r m e a n i n g , t h r o u g h w h i c h t h e c h a r a c t e r q u e s t i o n s t h e m e a n i n g ,
r e m a i n s i n s u s p e n s e . L a n g u a g e , w h i c h f o r m u l a t e s t h o s e p r o m i s e s , r e m a i n s as s u r p l u s i n a
w o r l d d e v o i d o f m e a n i n g . A v i o l e n c e w i t h o u t b l o w s w h i c h is t h a t o f l i f e itself.

It is t h a t f i r s t i n s u l t , t h e g r a t u i t o u s v i o l e n c e w h i c h c o n s t i t u t e s t h e i r r a t i o n a l r e a s o n f o r all
v i o l e n c e . It is i n r e s p o n s e t o t h a t v i o l e n c e , i n r e s p o n s e t o t h e a b s e n c e o f r e s p o n s e , t h a t t h e
characters become t o u g h , w i t h d r a w , close up f r o m each other. O v e r w h e l m e d by their
p a s s i o n s , t h e i r a n g e r , t h e i r d e s i r e , t h e y b e c o m e t h e very face o f passion, anger, a n d desire .
L i k e t h a t h i g h a n g l e s h o t i n The Bow in w h i c h t h e girl l o c k e d - u p , m o t i o n l e s s o n t h e c a b i n
b e d , l o o k s a t t h e c a m e r a , t o t a l l y i n c e n s e d . C o m m u n i c a t i o n is n o l o n g e r p o s s i b l e between
those h a r d e n e d p e o p l e . Individualities are o p a q u e , a l m o s t impossibl e t o b e n d . K i m Ki-duk
d o e s n ' t h i d e t h e d i f f i c u l t y h e has i n c o m p r e h e n d i n g v i o l e n c e , b u t h e o b s e r v e s t h e h u m a n
m o n o l i t h s w i t h e n o u g h c a r e t o b e a b l e t o g o b a c k t o t h a t first w o u n d , t h a t letter w i t h o u t
r e c i p i e n t , t h a t s c r e a m w h i c h a l w a y s r e t u r n s . T h a t is w h e r e w e t a k e it f r o m , a n d t h e d i r e c t o r
d o e s n ' t g i v e t o a n y f a c i l i t y o n t h e s u b j e c t : if t h e b l o c k s o f h a t r e d , d e s i r e , e g o t i s m ( a b o v e a l l
i n his f i r s t f i l m s ) a r e t r u l y a s y m b o l i z i n g o f u n d i l u t e d p a s s i o n s , i t is b e c a u s e , i n r e a l l i f e , t h e
system of symbols doesn't w o r k . T h e characters are t h e symbols of t h e impossibility of
symbolizing. They appear so c r u d e l y only on the background of the impossibility of
language itself: i m p o s s i b i l i t y , c o n s e q u e n t l y , o f a d a p t i n g t o t h e social w o r l d , o f p o l i s h i n g
o n e ' s vices, o f s o f t e n i n g t h e m t h r o u g h relationships w i t h f e l l o w h u m a n s . People d o n ' t t a l k
t o e a c h o t h e r in K i m Ki-duk's films, p e o p l e h i t e a c h other. Relationships are always f r o n t a l .
direct, d e c o d e d , never m e d i a t e d t h r o u g h language w h i c h w o u l d neutralize the violence a n d
a l l o w individualities t o m e e t in t h e neutrality of a shared space. T h e differences e x p e r i e n c e d
b y t h e social body , are n o t d i f f e r e n c e s w h i c h are relative, susceptible t o f i n d in c o n v e r s a t i o n
or negotiation, a reasoned resolution; they are absolute differences, w i t h no possible
a g r e e m e n t , w i t h n o possible c o m m u n i c a t i o n , w h i c h w i l l o n l y be settled t h r o u g h sacrifice,
madness or death.

The absolute difference

One is t e m p t e d t o f i n d , in t h e p o l i t i c a l reality o f Korea, a true expression of that

v i o l e n c e . For t h e d i v i s i o n o f t h e c o u n t r y as Coast Guard b e a r s w i t n e s s , is a m a t e r i a l a n d n o t
a s y m b o l i c d i v i s i o n , m a r k e d b y a v e r y real f e n c e w h i c h cuts i n t o t h e b o d y o f Korea itself:
n o t h i n g g o e s t h r o u g h , n o t h i n g is e x c h a n g e d , n o t r a d e , n o d i a l o g u e . T h a t d i v i s i o n b e t w e e n
N o r t h a n d S o u t h o p e r a t e s a b r o a d t o o ; i n Wild Animals, w h i c h is s e t i n F r a n c e , t h e t w o
K o r e a n s w h o m e e t r e p r o d u c e i t i n t h e i r r e l a t i o n s h i p . A s if t h a t f i r s t d i v i s i o n c o n t r i b u t e d t o
m a k i n g t h e m s t r a n g e r s t o t h e m s e l v e s , as if t h e v i o l e n c e o f t h e c u t d e p r i v e d t h e m o f t h e
p o s s i b i l i t y t o d o m i n a t e t h e v i o l e n c e i n t h e m s e l v e s . A n d s i n c e K o r e a n l a n g u a g e is n o t t h e
l a n g u a g e o f a c o u n t r y a t p e a c e w i t h itself, b u t t h a t w h i c h , i n s p i t e o f t h e m s e l v e s , the
brother-enemies share; since it is n o t , i n K o r e a itself, t h a t w h i c h d r e s s e s t h e wounds,
r e s o l v e s t h e c o n f l i c t s , s i n c e i t c a n n o t d o a n y t h i n g f a c e d b y t h a t l a c e r a t i o n w h i c h it has
h o w e v e r t h e i n c l i n a t i o n n o t so m u c h t o r e s t o r e as t o a p p e a s e ( b r i n g i n g w i t h it n o t h a r m o n y
b u t a t least a p o s s i b i l i t y o f u n d e r s t a n d i n g w h i c h , i n e a c h p a r t i c u l a r c o n f l i c t , g e n e r a t e s t h e
h o p e f o r a n a g r e e m e n t ) ; s i n c e , i n t h e e n d , t h a t s h a r e d m e a n i n g w h i c h is t h e language
c o m m o n t o b o t h s t a t e s, d o e s n ' t f i n d a n y c o r r e s p o n d e n c e i n t h e r e a l i t y , t h e m e a n i n g i t s e l f
ends up being discredited. The language is n o w subordinate to that violence it was
s u p p o s e d t o p u t a n e n d t o : t h o s e w h o , i n Wild Animals o r i n Address Unknown, play t h e
b a d d i e s , o n l y u t t e r t h e t y p i c a l s t a t e m e n t s w h i c h c h a r a c t e r i z e n a s t i n e s s , as t h e liars c a n no
l o n g e r d o a n y t h i n g b u t l i e , a n d n o b o d y r e a l l y t a k e s w o r d s s e r i o u s l y . L a n g u a g e c a n n o t set
itself f r e e , c a n n o t e x i s t f o r itself, n o r c a n i t g e n e r a t e its m o s t c h a r a c t e r i s t i c p o w e r , w h i c h is
a fragile agreement between human fellows, miraculously saved from all violence.
Language r e m a i n s c a u g h t in t h e m o n o l i t h s o f nastiness, v i o l e n c e a n d despair. C o n t r a c t s are
passed, though, but one knows immediately that they won't be honoured, that the
contracts are a deception, and that only relationships of power exist: imitation or
s i m i l a c r u m o f w o r d s rather t h a n real w o r d s .

H o w e v e r , K o r e a ' s d i v i s i o n is o n l y a m o t i f , t h e s y m b o l o f a d i v i s i o n o n e f i n d s u n d e r a
m u l t i t u d e o f f o r m s . If t h e r e is a n y t h i n g r e s e m b l i n g s o c i a l c r i t i c i s m i n K i m K i - d u k ' s c i n e m a ,
it is n o t t h e c r i t i c i s m o f s u c h o r s u c h s o c i e t y b u t r a t h e r t h e f i n a l r e p o r t o n s o c i a l a p o r i a . T h e
report on an absolute difference, never reducible to a punctual and finally soluable
d i s a g r e e m e n t . T h e i m p r o p r i e t y o f t h e l a n g u a g e a n d v a n i t y o f al l w o r d s . For s o m e t h i n g , in
social relationships, o v e r f l o w s f r o m w o r d s , o v e r f l o w s f r o m t h e negotiable, t h e irresolute
n a t u r e o f r e l a t i o n s h i p s - t h e p u l s i o n o f d e a t h . If, as u s u a l , t h a t s o m e t h i n g g o e s i n t o p r o f i t
a n d loss, i n t o t h e s h a p e o f h a r m l e s s i n d i v i d u a l n e u r o s i s m o s t o f t h e t i m e , h e r e , as i n w a r
s i t u a t i o n s , i t s i p h o n s a l l l a n g u a g e s a n d d e m o n s t r a t e s its v a n i t y L a n g u a g e is n o t c o - e x t e n s i v e
t o l i f e , d e s i r e d o e s n ' t l e t itself b e t o t a l l y s y m b o l i z e d o r s p i r i t u a l i z e d . So t h a t n o f r i e n d s h i p
e v e n , as a m i r a c u l o u s f o r m a t i o n o f d e s i r e , is p r o t e c t e d f r o m a b e t r a y a l , f r o m a n e x c e s s , as
o n e sees i n Wild Animals, w h e r e , b e f o r e c h a n g i n g his m i n d , t h e y o u n g l o u t f r o m t h e S o u t h
t a k e s i t u p o n h i m s e l f t o d r o w n his n o r t h e r n f r i e n d .

T h e d e f e a t of language leaves b a r e , o p e n like a w o u n d , t h e u n b e a r a b l e n e s s of human

relationships, t h e misery o f solitudes in t o t a l d e s p e r a t i o n , m u t e m o n a d s w h o s e paths n e v e r
cross w i t h o u t a s h o c k , w i t h o u t a c l a s h , w i t h o u t t h e v i o l e n c e o f t h e t h e n - a n d - n o w which
c a n n o t b e e x c e e d e d - o f t h e n o n - m e d i a t i z e d b y l a n g u a g e . W i t h o u t m e d i a t i o n , t h e r e is n o
common g r o u n d for t w o organized freedoms meeting, and each can o n l y assert i t s e l f
a g a i n s t t h e o t h e r s , " a w a r o f all a g a i n s t a l l " . T h e m e e t i n g c a n o n l y b e a b r u t a l c o n f r o n t a t i o n ,
a relationship of power, non-communication and solitude.

The i n t e r v a l of tiw e

C o m p l e x n e t w o r k s o f fences, w i n d o w s , obstacles e v e r y w h e r e p r e v e n t s o m e t h i n g f r o m
h a p p e n i n g . B u t , l i k e t h e z e a l o u s m a r k s m a n i n Coast Guard, o n e is c r a v i n g f o r s o m e t h i n g t o
happen. One is o n t h e l o o k o u t , u n c e a s i n g l y , w a i t i n g f o r s o m e t h i n g - m e a n i n g - t h r o u g h
t h e fissures o f r e a l i t y t o d e l i v e r us f r o m t h e a b s u r d a n d f r o m s o l i t u d e . T h e s o l d i e r w h o ,
s h e l t e r e d i n his s e n t r y b o x , m u s t p r e v e n t t h e i n t r u s i o n o f a s p y c o m i n g f r o m t h e N o r t h , p l a y s
his r o l e w i t h a z e a l e v e n m o r e m o v i n g , e v e n m o r e r a g i n g a n d i m p e r i o u s f o r h e has t o
e n d u r e t h e jeers o f t h e chorus , o f t h e singularly i l l - t e m p e r e d inhabitant s w h o l o o k d o w n o n
t h o s e useless s o l d i e r s , c o n s i d e r i n g t h a t v a i n d i s c i p l i n e , all t h a t a r s e n a l , as a c h i m e r a . That
w o r l d has s t o p p e d , t h o s e m e n a r e s t u c k : s o m e t h i n g has t o m o v e , it's a m a t t e r o f b r e a t h i n g .
T h e s o l d i e r is c h o k i n g w i t h t h e d e s i r e f o r s o m e t h i n g t o h a p p e n , s o m e t h i n g w h i c h w i l l g i v e
some m e a n i n g t o his p r e s e n c e o n t h a t warless front , t h a t f r o n t e x p o s e d t o n o t h i n g , t o
nothingness. He is c r a v i n g f o r s o m e t h i n g t o c i r c u l a t e t h e r e w h e r e n o t h i n g can circulate,
where nothing should circulate, and in t h a t he s h a r e s t h e d e s t i n y o f all t h o s e other
characters who, in K i m Ki-duk's films, l o o k t h r o u g h slats, t w o - w a y mirrors, w i n d o w s ,
t r a n s p a r e n t plastic sheets, o n t h e l o o k o u t f o r s o m e t h i n g . . . A n d w h e n f i n a l l y s o m e t h i n g d o e s
h a p p e n , it is o b v i o u s l y n o t w h a t o n e w a s e x p e c t i n g . T h e s h o t misses its t a r g e t ( t h e p o t e n t i a l
a n d p h a n t a s m a l spy) b u t b r i n g s d o w n a y o u n g c o u p l e m a k i n g l o v e i n n o - m a n ' s l a n d - a t
t h e s a m e t i m e t h e p l a c e w h e r e nothing must happen and that, alone amongst everything,
w h e r e something can happen. T h e r e is, o f c o u r s e , l o v e w h i c h c i r c u l a t e s , b u t l o v e is n o t
c o n s i d e r e d as s u c h . It is c o n s i d e r e d as s o m e t h i n g e l s e : as t h e e n e m y so m u c h fantasized
u p o n , w h o a l o n e , b e c a u s e o f his a r r i v a l , c a n j u s t i f y o n e t a k i n g u p a r m s a g a i n s t e a c h o t h e r . In
t h e g r i d s p a c e o f d i v i s i o n s w h i c h s e p a r a t e t h e b o d i e s a n d install b e t w e e n t h e m a f o r b i d d e n
z o n e , t h e l o v e r s e s c a p e l e a d s t h e m t o m a d n e s s ( t h a t o f t h e girl) a n d d e a t h ( h e r y o u n g l o v e r ) .
T h e s o l d i e r r e c e i v e s a m e d a l f o r his z e a l , w h i l e a n i n n o c e n t o n e is d y i n g : d i v i s i o n s m a d e t h a t
a b s u r d i t y p o s s i b l e . D e c o r a t e d f o r h a v i n g m a i n t a i n e d a t all costs t h e uselessness o f t h a t p l a c e ,
t h e n o t h i n g n e s s o f all e v e n t s , a n d t h e b r u t a l i n s i g n i f i c a n c e o f reality.

T w o c o n t r a r y desires are at w o r k : t h e desire f o r s o m e t h i n g t o h a p p e n , a n d t h e exact

opposite, t h e desire for n o t h i n g t o h a p p e n . For all e v e n t is v i o l e n t i n a w o r l d w i t h o u t
l a n g u a g e . Eros a n d T h a n a t o s o p p o s e e a c h o t h e r w i t h o u t m e d i a t i o n . H o w e v e r , t h e r e is n o
nostalgia in K i m Ki-duk's films for an e v e n t u a l p r i m i t i v e h a r m o n y b e t w e e n h u m a n beings, a
h a r m o n y f r o m w h i c h w e w o u l d h a v e b e e n s e p a r a t e d b e c a u s e o f false s o c i a l d i v i s i o n s . T h e
p r i c e f o r h a r m o n y is p a i d w i t h t h e s a m e d e s t r u c t i v e rage , as w e see i n The Bow. O n a boat
a n c h o r e d f a r f r o m t h e b a n k , a n o l d m a n lives a l o n e w i t h t h e girl h e ' s c a r i n g f o r , a n d whom
h e i n t e n d s t o m a r r y o n h e r s e v e n t e e n t h b i r t h d a y . T h e b o w , w h i c h h e h a n d l e s w i t h skill a n d
religiosity, e x e r t s a d o u b l e f u n c t i o n : o n t h e o n e h a n d t o m a i n t a i n , t h r o u g h t h e m u s i c he
d r a w s f r o m i t , t h e h a r m o n y o f his s m a l l i s o l a t e d w o r l d , o n t h e o t h e r t o r e p e l t h e f i s h e r m e n
w h e n t h e i r desire f o r t h e girl t h r e a t e n s t h e b a l a n c e . H e guarantees t h e fragile e q u i l i b r i u m o f
a t e r r i t o r y s t i f l i n g f r o m e x i g u i t y b u t m u s i c a l , h a v i n g f o u n d its p l a c e i n t h e n a t u r a l f o r c e s a t
w o r k , a n d w h i c h c a n o n l y b e m a i n t a i n e d t h r o u g h v i c i o u s l y r e j e c t i n g t h e o t h e r s . It is still i n a
w a y a f e n c e . A n d i t lasts u n t i l t h e d a y w h e n , b e c a u s e o f a y o u n g f i s h e r m a n , d e s i r e makes
t h e i r s w e e t e t e r n i t y e x p l o d e ; in t h e g i r l ' s ears, t h e y o u n g m a n ' s w a l k m a n r e p l a c e s t h e s o n g
o f t h e b o w . T h e o l d m a n ' s d r e a m d o e s n ' t resist t h a t i n t r u s i o n o f r e a l i t y, t h a t a p p a r i t i o n f r o m
elsewhere. For i n n o c e n c e w i t h o u t c r u e l t y is o n l y a d r e a m . R e a l i t y is t h e unpredictable
v i o l e n c e o f t h e e v e n t . A n d t h a t is w h e n c o n f i n e m e n t a p p e a r s , f o r t h e s p e c t a t o r as w e l l as f o r
t h e g i r l , i n its s i n i s t e r r e a l i t y : t h a t o f a n o l d e g o t i s t w h o , d e s p i t e all his l o v e , p r e v e n t s a y o u n g
girl f r o m l i v i n g h e r l i f e . T h a t i n t r u s i o n o f d e s i r e is n e c e s s a r y t o r e v e a l t h e f u t i l i t y o f t h e d r e a m ,
its s e c r e t a n d d e e p v i o l e n c e . It is a c c o m p a n i e d b y a t e r r i b l e r e f u s a l o f t i m e : t h a t m a n , w h o
t h o u g h t h e h a d c e m e n t e d his e t e r n i t y is f o r c e d t o f e v e r i s h l y t e a r t h e p a g es o f his c a l e n d a r t o
make the wedding happen quicker. But catastrophe has happened even quicker, the
temporal t a m p e r i n g couldn't slow d o w n the disarming speed of the event.

W h a t p r e v e n t s h a r m o n y is n o t t h e f a l s e h o o d o f d i v i s i o n s a n d t h e s o c i a l c o d e s , it's t h e
plurality o f desires a n d t h e speed o f t h e i r i n t r u s i o n. K i m Ki-duk d o e s n ' t l o o k f o r any h e a l i n g :
the original w o u n d is b e y o n d h e a l i n g , a n d t h e y o u n g d i s c i p l e i n Spring, Summer, Fall,
Winter...and Spring " w i l l , " as his m a s t e r says, " c a r r y t h e s t o n e i n y o u r h e a r t f o r as l o n g as
y o u l i v e " . P a r a d i s e is n o t h i n g b u t a l i e , e x c e p t if it's e a r n e d i n r e a l i t y itself, w h i c h is r o u g h
a n d perverse. O n e c a n n o t d o w i t h o u t t h e d i f f e r e n c e . N o t h i n g w i l l h a p p e n in d e n i a l .

The endless running into debt

Because of that original w o u n d , because of those " u n k e p t promises", a b o u t w h i c h Kim

K i - d u k r e p e a t s i n his i n t e r v i e w s t h a t t h e y a r e t h e o r i g i n o f all v i o l e n c e , a n d a b o u t w h i c h o n e
c o u l d a l s o say t h a t t h e y a r e t y p i c a l o f t h e t i m e , e v e r y b o d y w i t h d r a w s i n t o a s t u b b o r n
s i l e n c e . For e v e r y t h i n g is a g g r e s s i o n . " T h e c h a r a c t e r s i n m y f i l m s a r e n o t m u t e , " s a i d Kim
K i - d u k . " T h e y j u s t d o n ' t b e l i e v e i n v e r b a l c o m m u n i c a t i o n . " It is n o t t h a t t h e y c a n n o t s p e a k ,
it's t h a t t h e y d o n ' t w a n t t o s p e a k . T h e y a r e n o t s i l e n t t h r o u g h i n a b i l i t y t o s p e a k , b u t t h r o u g h
t h e i n a b i l i t y t o believe in w o r d s . Phantasmal d e n i a l o f t h e o t h e r w h i c h can o n l y result, s a d l y
in e x p o s i n g t h e m e v e n m o r e t o physical v i o l e n c e since, unless t h e y isolate themselves
physically f r o m the w o r l d , t h e y c a n n o t avoid m e e t i n g others. Since no agreemen t can be
reached, they have n o t h i n g t o soften the blows, no symbolic equivalent, w h i c h w o u l d make
p h y s i c a l v i o l e n c e m i s s t h e b o d i e s . For l a c k o f l a n g u a g e , f o r l a c k o f c i v i l i z e d s y m b o l i z i n g o f
t h e r e l a t i o n s h i p s o f p o w e r a n d a f f e c t s , f o r l a c k o f c o m m o n l a w , a c c o u n t s , w h o s e b a l a n c e is
never n i l , are settled by t h e bodie s themselves, in exchanges of gunshots, w o u n d s and
b l o o d . For s o m e t h i n g has t o h a p p e n , b e c a u s e i n t h e e n d , t h o s e s o l i t u d e s desire each other,
a n d t h a t is t h e r e a s o n w h y t h e y t e a r e a c h o t h e r a p a r t . D e s i r e d e m a n d s a r e l a t i o n s h i p , e v e n
if t h a t r e l a t i o n s h i p is i m p o s s i b l e . T h a t is w h e r e t h e d r a m a l i e s : t h e n e c e s s a r y is i m p o s s i b l e .

The invisible cruelty of h u m a n relationships, t h e d o m i n a t i o n s and servitudes, normally

c o n c e a l e d by their s y m b o l i c character, are expressed h e r e in t h e i r real s h a p e , material,
p h y s i c a l l y m u t i l a t i n g a n d p a i n f u l . I h a v e p o w e r o v e r y o u , so I b e a t y o u . I d e s i r e y o u so I
e n s l a v e y o u , l i k e H a n g - g i i n Bad Guy p r o s t i t u t i n g t h e girl h e desires b u t d o e s n ' t t o u c h . A
c h a r a c t e r w h o c h a s e s o u t a n o t h e r , d o e s n ' t j u s t say " G e t l o s t ! " , h e also has t o h a l f - k n o c k h i m
d o w n , as i n Address Unlcnown in w h i c h , a l m o s t e a c h t i m e t w o m e n , or a m a n a n d a
w o m a n , m e e t , o n e slaps t h e o t h e r m o s t o f t h e t i m e . E a c h , i n w h a t e v e r g r o u p he/she is, e n d s
u p b e i n g t h e o b j e c t o f t h e g r a t u i t o u s v i o l e n c e o f t h e s t r o n g e s t a n d e a c h passes o n those
b l o w s t o t h e w e a k e s t , d o w n as f a r as w o m e n a n d a n i m a l s w h o , a t t h e b o t t o m o f t h e l a d d e r ,
h a v e n o - o n e t o b e a t i n r e t u r n a n d w h o d i e f o r t h e w h o l e w o r l d , h a v i n g a b s o r b e d all t h e
social v i o l e n c e passed f r o m h a n d t o h a n d , like those u n f o r t u n a t e dogs h u n g u p f o r t h e i r
m e a t i n Address Unl< nown, like t h a t m u t i l a t e d fish t h r o w n b a c k alive in t h e w a t e r in The
Isle. It is t o w a r d s women and animals that the flux of violence produced by social
r e l a t i o n s h i p s a r e d i r e c t e d . It is w o m e n a n d animals w h o , t h r o u g h their powerlessness to
pass t h e m o n , t h r o u g h t h e i r d e a t h , t o r t u r e o r s e r v i t u d e , a l l o w t h e f l u x t o b e evacuated.
T h e i r a n n i h i l a t i o n is t h e p r i c e o f s u r v i v a l o f t h e w h o l e .

For a w o r l d d e p r i v e d of law is n o t , f a r f r o m t h a t , a n original paradise for endless

i n d i v i d u a l f r e e d o m s : i t is r a t h e r t h e g e n e r a l i z e d r u n n i n g i n t o d e b t o f all b e i n g s t o w a r d s all
b e i n g s . K i m K i - d u k ' s c h a r a c t e r s a r e n e v e r f r e e f r o m o n e a n o t h e r . N o m i s t a k e is e v e n p u t
r i g h t , n o o f f e n c e e v e r a c q u i t t e d , t h e d a m a g e is i r r e v e r s i b l e . L a w is g e n e r a l l y w h a t a i m s a t
m a k i n g individual freedoms meet w i t h o u t friction, w h i c h thus ensure the coexistence of a
plurality w h i l e at t h e s a m e t i m e redressing m u t u a l attacks, by relativising t h e differences.
But no law can produce a true h a r m o n y or rather every law l e t o u t o f its l i m i t s an
irremediable, incodifiable violence, a m u t u a l hatred, a fierce b a c k g r o u n d of unsociability,
o f w h i c h w a r s a r e t h e b r e a k i n g l o o s e . T h e a u t h o r i t y o f t h e l a w d e m a n d s as its c o n d i t i o n n o t
t o be f i x e d , n o t t o be s o l i d i f i e d in t h e shap e o f a n o r m (that w h i c h s h o u l d be), n o t t o ever
finish c o d i f y i n g t h e reality, a n d t o p r o d u c e s y m b o l i c e q u i v a l e n t s a l l o w i n g t h e r e p a r a t i o n o f
t h e i r r e p a r a b l e . K i m K i - d u k o f t e n insists o n t h e e x t r e m e r i g i d i t y o f t h e c o d e s i n f o r c e i n
K o r e a , e s p e c i a l l y i n t h e r e g i s t e r o f s e x u a l i t y . To b e so f a r f r o m r e a l i t y e m p t i e s t h e l a w o f all
a u t h o r i t y A s if t h e l a w itself i n its t o t a l i t y w a s i n v a l i d a t e d b e c a u s e o f t h i s p o w e r l e s s n e s s to
c o d i f y o r r e c u p e r a t e t h e i m p e r i o u s sexual forces o f w o r k , forces w h i c h a t t r a c t a n d set t h e
bodies against each other.

H a n g - g i , i n Bad Guy, forces S h e o n - H w a t o contract a d e b t . But immediately, what

S h e o n - H w a o w e s H a n g - g i is m u c h m o r e t h a n m o n e y : H a n g - g i has a c q u i r e d a n i n f i n i t e r i g h t
o n h e r b o d y A h u n d r e d y e a r s o f p r o s t i t u t i o n w o u l d n ' t b e e n o u g h t o r e i m b u r s e i t . A n d if b y
c h a n c e o n e s u c c e e d s i n r e i m b u r s i n g a d e b t , i t is a t t h e c o s t o f a m u t i l a t i o n : o n c e a g a i n t h e
story of t h e eye, i n Address Unknown, is e x e m p l a r y . T h a n k s t o t h e s o l d i e r w h o t r i e s t o
s e d u c e her, t h e o n e - e y e d g i r l has h e r e y e t r e a t e d , n o t k n o w i n g t h e d e b t s h e is c o n t r a c t i n g .
Later, w h e n t h e s o l d i e r , s u d d e n l y w o r r i e d a b o u t t h e i d e a t h a t s h e m i g h t f o r g e t h i m , w a n t s
t o c a r v e his n a m e o n h e r b r e a s t - f o r it is o n l y l i k e t h a t , i n w o u n d i n g b o d i e s , t h a t o n e is s u r e
i n K i m K i - d u k ' s c i n e m a t h a t s o m e t h i n g has t r u l y h a p p e n e d - h e t a k e s o f f e n c e a t h e r r e f u s a l :
" A f t e r w h a t I've d o n e f o r y o u ! " H o w t o f r e e o n e s e l f f r o m s u c h a d e b t ? T h e r e is o f c o u r s e
o n l y o n e w a y : gouging her eye for the second t i m e , symbolically giving back the eye he had
t a k e n c a r e of.

The secret collosiow

The relationships w h i c h one establishes, which inevitably end up being established

between p e o p l e a r e t h u s n e v e r " e q u i t a b l e " r e l a t i o n s h i p s . A s t h e f u g i t i v e o n The Isle only
stays w i t h t h e y o u n g p r o s t i t u t e f o r h e is b o u n d b y a d e b t , it is a g a i n t h a t f i r s t c o n s t r a i n t
w h i c h , i n Bad Guy, b i n d s H a n g - g i t o his y o u n g p r i s o n e r . A t t h e b e g i n n i n g o f t h e f i l m , H a n g -
g i , w h o m e e t s h e r i n a p a r k , d o e s n ' t b o t h e r s e d u c i n g her. H e d o e s n ' t h a v e t h e s l i g h t e s t h o p e
o f m a k i n g t h e i r t w o d e s i r e s m e e t . So h e kisses h e r b y f o r c e , o n t h e m o u t h , i n t h e m i d d l e o f
a p u b l i c g a r d e n . It is b y n o m e a n s a s m a l l v i o l e n c e . T h e m o u t h is p e r h a p s t h e m o s t i n t i m a t e
p a r t , s i n c e i t is f r o m t h e r e t h a t o n e s p e a k s a n d , i n K i m K i - d u k ' s f i l m s , f r o m w h e r e several
characters k e e p q u i e t . It is t h r o u g h t h e m o u t h t h a t is s p o k e n , o n t h e c o n t r a r y - b y not
s p e a k i n g - t h e refusal o f t h e w o r l d a n d t h e w i t h d r a w a l . O n e accepts, ultimately , self-harm.
b u t n o t t o s p e a k , n e v e r . R a t h e r t o d i e . H e n c e t h e r e m a r k a b l e b r u t a l i t y o f t h a t g e s t u r e , its
s h a m e l e s s n e s s , e m p h a s i z e d b y t h e f a c t t h a t i t is a c c o m p l i s h e d in a p u b l i c space w h e r e , in
t h e Far East, o n e a v o i d s k i s s i n g a t all c o s t s . T h e p u b l i c s l a p p i n g g i v e n b y S h e o n - H w a d o e s n ' t
l e a v e t h e m s q u a r e a n d H a n g - g i t h i n k s h e has p e r m i s s i o n , o n c e t h e g i r l is his p r i s o n e r , t o
r e i m b u r s e h i m s e l f a d infinitum. B u t i t is o n t h a t b i z a r r e i n f i n i t y , t h a t i n f i n i t e i n e q u a l i t y , t h a t ,
against all e x p e c t a t i o n , a compromise is f o u n d . First perceived in t h e image of her
c o m p a s s i o n , w h e n she witnesses t h e b e a t i n g u p o f Hang-gi b y t h e local g a n g , t h e n in t h e
i m p o s s i b i l i t y t o e s c a p e w h e n s h e has t h e chance.

" T h e r e is n o s e x u a l r e l a t i o n s h i p , " L a c a n l i k e d t o stress. Sex is n e v e r a relationship

between two subjects - neither reciprocity nor equality. It is, i n Bad Guy, on the
impossibility o f the sexual relationship (on t h e possible impotency of the pimp) that a
distanciated and silent relationship is built. From the girl the increasing consent of
submission, if n e v e r really wholly consented; from Hang-gi a lessening of the brutal
v o y e u r i s m , I m e a n a lessening o f t h e h i d d e n v o y e u r i s m . Hang-gi doesn't t o u c h t h e girl: he
spies inside t h e r o o m w h e r e she receives her c u s t o m e r s t h r o u g h a t w o - w a y m i r r o r u n t i l t h e
d a y h e r e v e a l s h i m s e l f w i t h t h e f l a m e o f his l i g h t e r . V o y e u r i s m is n o l o n g e r a t h e f t if t h e
v o y e u r s h o w s h i m s e l f s t e a l i n g . As f o r S h e o n - H w a , w h o f i r s t r e f u s e d t o p r o s t i t u t e h e r s e l f , s h e
b e c o m e s a real w h o r e , a d o p t s t h e necessary gestures, s o l i c i t i n g clients in t h e street, t a k i n g
pleasure i n t h e r i v a l r y w h i c h , as is t h e u s u a l p r a c t i c e w h e n o n e takes o n a profession,
o p p o s e s h e r t o t h e o t h e r girls. T h a t v o y e u r i s m , a n d t h e c o m p l i c a t i o n o f a r e l a t i o n s h i p w h i c h
o n e s h o u l d n ' t r e d u c e t o o q u i c k l y t o a r e l a t i o n s h i p b e t w e e n a r a p i s t a n d his v i c t i m (in w h i c h
o n e w o u l d b e t o t a l l y i n t h e w r o n g , a n d t h e o t h e r t o t a l l y i n n o c e n t ) is t o b e f o u n d i n all o f
K i m K i - d u k ' s c i n e m a : s o , i n Address Unl< nown, the draughtsman peeps at the y o u n g one-
e y e d w o m a n , t h r o u g h t h e slats o f a V e n e t i a n b l i n d , b e i n g l i c k e d b y h e r d o g . W h e n t h e girl
notices, she's n o t o f f e n d e d , she n e v e r takes o n t h e v i e w p o i n t o f i n n o c e n c e . Instead, they
l o o k t o g e t h e r at t h e pages o f a p o r n m a g a z i n e : " H a v e y o u ever seen m e in t h o s e positions?"
she asks. O r , i n Birdcage Inn, a b o y t a p e s t h e t e n a n t ' s revels a n d m a s t u r b a t e s w h i l e l i s t e n i n g
t o t h e m i n his b e d . B u t h e r e t h e t e r m s c h a n g e , f o r t h e v i c t i m w o n ' t k n o w a n y t h i n g a b o u t
it. It is, i n r e a l i t y , t h e v o y e u r ' s sister (or s h o u l d w e r a t h e r say t h e listener?) w h o , for a
m o m e n t indignant, w i l l ' c o m e ' , w i t h o u t her k n o w i n g , w i t h the help of those r e c o r d i n g .

N o b o d y is i n n o c e n t a n d t h e r e is n o p u r e a n d s i m p l e v i c t i m . T h a t is m e r e l y a n i n v e n t i o n
o f t h e law, o n e o f its c a t e g o r i e s w h i c h , i n r e a l i t y , i n r a p e , v o y e u r i s m a n d p r o s t i t u t i o n , has
t h e t e n d e n c y t o b e c o m e b l u r r e d a n d c o n s e q u e n t l y u n s u i t a b l e f o r a m o r a l o r legal d i s c o u r s e .
It b e c o m e s i m p o s s i b l e t h u s t o s e t t l e b e t w e e n t h e v i c t i m a n d his t o r m e n t o r , s o m e affects
i n c e s s a n t l y p a s s i n g f r o m o n e t o t h e o t h e r . " T o s h o w t h e girls less l i k e v i c t i m s " : t h a t ' s h o w
Kim Ki-duk answers those w h o accuse h i m of presenting a vile image of w o m e n (at least
f o u r o f K i m K i - d u k ' s f i l m s h a v e p r o s t i t u t i o n as c e n t r a l t h e m e : Birdcage Inn, The Isle, Bad
Guy a n d Samaritan Girl). A n d i n v e r s e l y : t o s h o w m e n less l i k e t o r m e n t o r s ? For i t is l i k e l y
t h a t d o m i n a t i o n l e a n s e v e n m i n u t e l y , e v e n u n n o t i c e d , o n c o n s e n t f r o m t h e d o m i n a t e d . In
t h e s a m e w a y as p r o f a n a t i o n is n o t t h e d e s t r u c t i o n o f m y s t e r y b u t , as L e v i n a s s a i d , o n e o f
t h e p o s s i b l e r e l a t i o n s h i p s t o i t , d o m i n a t i o n is n o t h a t r e d f o r t h e d o m i n a t e d , b u t a p o s s i b l e
relation to that other with whom I cannot speak, I cannot negotiate; altogether a
r e l a t i o n s h i p m i r a c u l o u s l y s a v e d f r o m t h e i m p o s s i b i l i t y o f all r e l a t i o n s h i p s . " T h e r e l a t i o n s h i p
b e t w e e n m e n a n d w o m e n is i n i t s e l f a k i n d o f p r o s t i t u t i o n , " s a i d t h e d i r e c t o r , " e v e n if n o
m o n e y changes h a n d . " So it is a l i e t o p r e t e n d t h a t a r e l a t i o n s h i p b e t w e e n l o v e r s is a
r e l a t i o n s h i p o f e q u a l i t y . It is n o m o r e p r o t e c t e d f r o m r e l a t i o n s h i p s o f p o w e r t h a n f r o m
e m o t i o n a l d e b t s a n d advances ( t o n o t e b o t h t h e e c o n o m i c a n d t h e a m o r o u s sense). The
a p p a r e n t l y p u r e l y c o m m e r c i a l n a t u r e o f t h e r e l a t i o n s h i p b e t w e e n a p i m p a n d his p r o s t i t u t e
in realit y c o n c e a l s a real a n d u n e x p e c t e d m e e t i n g b e t w e e n t w o desires, h o w e v e r strangely
a d j u s t e d , b u t n e c e s s a r y if o n e d o e s n ' t l e a n o n a f a n t a s y o f i d e a l l o v e , e q u a l a n d pure.
" W h e n , f o r e x a m p l e , y o u o f f e r a n e c k l a c e t o t h e girl y o u ' r e g o i n g o u t w i t h , " K i m Ki-duk
suggested, "and after that t h e girl sleeps w i t h you, can't we consider it a form of
p r o s t i t u t i o n ? " Bad Guy shows t h a t a d m i r a b l y : e v e n o n c e t h e y are f r e e d f r o m t h e i r m u t u a l
hatred, Hang-gi and Sheon-Hwa don't change a n y t h i n g in t h e i r r e l a t i o n s h i p : Hang-gi
c a r r i e s o n s e l l i n g h e r t o s t r a n g e r s , e n t i r e l y j u s t i f i e d ( f o r i n n o c e n c e has to be earnt) through
Sheon-Hwa's consent. If, in reality, the flux of violence, insoluable residue of the
u n f u l f i l l m e n t o f desires, passes t h r o u g h t h e social body they don't pass w i t h o u t the
equivalent flux of puissance.

T h e r e is i n t h a t s o m e t h i n g h i g h l y S a d i a n , if n o t s a d i s t i c : " T h e r e is n o m a n w h o doesn't
w a n t t o b e a d e s p o t w h e n h e has a n e r e c t i o n , " w r o t e S a d e : d e s i r e is t y r a n n i c a l a n d perverse
(or t o p u t i t b e t t e r , d o m i n e e r i n g a n d d i v i n e ) a n d t h e i d y l l i c r e p r e s e n t a t i o n o f l o v e a d e n i a l
o f reality. V i c t i m a n d t o r m e n t o r are n o t o n l y social p o l a r i t i e s , t h e y are also e r o t i c p o l a r i t i e s,
b o t h p a r t o f a l i b i d i n a l a r r a n g e m e n t . T h a t is w h y , i n all t h a t p e r v e r s i o n , t h e r e is s o m e t h i n g
l i k e l o v e w h i c h , i n t h e e n d , passes t h r o u g h . R e l a t i o n s h i p s of domination and servitude

I
75
o b v i o u s l y cross t h e s o c i a l body and w o m e n are most of the time men's property (the
c h a r a c t e r p l a y e d b y D e n i s L a v a n t i n Wild Animals is f o r c e d t o buy Corinne from the man
w h o is n o t e v e n h e r p i m p ) , b u t d e s i r e i n v a d e s t h o s e r e l a t i o n s h i p s i n t h e s h a p e o f a c o m p l e x
sado-masochism. N o love w i t h o u t p e r v e r s i o n ; t h a t such a discourse, e v e n in t h e W e s t e r n
w o r l d , c o u l d s t i l l , t w o c e n t u r i e s a f t e r S a d e , b e t a k e n f o r c y n i c i s m , l e t us guess t h e i n t e n s i t y
o f t e e t h g r i n d i n g it m u s t cause in Korea. Feminists w h o h a d b e e n s h o c k e d by t h e imag e o f
w o m e n perhaps m a d e a mistake o n t h e nature of representation: Kim Ki-duk doesn't care
for being edifying. He doesn't claim a kind of naturalism either: he rather gives the
impression of w a n t i n g t o b u y back w h a t c o u l d be, b u t w i t h o u t illusion, starting f r o m reality
i n its m o s t v i o l e n t f i g u r e s , w i t h o u t p l a y i n g w i t h t h e t r a g i c . T h o s e f l u x e s o f v i o l e n c e h a v e " t o
be catharticized". The prostitute plays a part in t h e equilibrium of the social body,
n e u t r a l i z i n g t h o s e f l u x e s w h i c h g o t h r o u g h her, t r a n s f o r m i n g t h e m i n t o m o n e y , t h a n k s t o
w h i c h t h e e v e n t itself, t h e ' q u i c k i e ' , as a n e m o t i o n a l d e b t is c a n c e l l e d : t h e p r o s t i t u t e has
sex, b u t n o t h i n g h a p p e n s , i t is n o t a n e v e n t , it is n o t t h e s t a r t o f a l o v e s t o r y ; i t d o e s s u s p e n d
t h u s t h e i r r e v e r s i b i l i t y o f w h a t is h a p p e n i n g . O n t h a t m a t t e r o n e f i n d s r e m a r k a b l e p a g e s b y
J e a n - F r a n c o i s L y o t a r d : " t h e p r o s t i t u t e t r a n s f o r m s t h e c l i e n t ' s puissance into money and
t h u s c o n v e r t s , p h l e g m a t i c a l l y , t h e p e r v e r s e l i b i d o , o r s i m p l y its use, t h e s u r p l u s o f p u l s i o n a l
energy scattered in s o c i e t y and dangerous for society, mortiferous because capable of
m a k i n g i t g o i n all d i r e c t i o n s w i t h n o r e g a r d f o r its o r g a n i c u n i t y " [Economic Libidinale).
O n e c o u l d t h u s r e v e r s e t h e r e l a t i o n s h i p : it is n o t t h e c l i e n t w h o b u y s b a c k t h e p r o s t i t u t e , i t
is t h e p r o s t i t u t e w h o b u y s b a c k t h e e x c e s s o f d e s i r e o f t h e c l i e n t ( t h e l e f t o v e r s o f all d i v i s i o n s
a n d s o c i a l g a p s ) , b u t t h a t b u y i n g b a c k has n o m o r a l s e n s e : its m e a n i n g is p u r e l y economic,
like a b a n k buys b a c k a d e b t - t o invest it in a love r e l a t i o n s h i p .

The genesis of signs

A s t h e s u s p e n s i o n o f all l a w s g i v e s b i r t h t o a n a b s u r d g a m e o f e n d l e s s r u n n i n g i n t o d e b t s
and payments of debts, and consequently to a kind of primitive and cruel jurisdiction w h i c h
o n e n e v e r leaves fre e n o r u n d a m a g e d , t h e d e t e r m i n e d m u t i s m o f t h e characters paves t h e
w a y for a s u m m a r y and a b r u p t c o m m u n i c a t i o n , a kind of primitive and stuttering language:
a s t a g i n g o f p a i n a n d c r u e l t y . In t h e d e s e r t o f signs, i n t h e d e f e a t o f a b s t r a c t i o n s , i t is t h e
b o d y itself w h i c h c h a n g e s i n t o a s i g n : t h e y o u n g m a n i n Wild Animals plunging a knife into
his h a n d t o p r o v e his d e t e r m i n a t i o n , t h e g i r l i n The Isle p u t t i n g fishhooks in her vagina t o
f o r c e h e r l o v e r t o stay.

Logically no m o r e t h a n w o r d s , things are s y m b o l s straight a w a y T h e y b e c o m e symbols

e i t h e r in t h e course o f t h e f i l m , o r in t h e course o f t h e b o d y o f w o r k . K i m Ki-duk tries t o
t h i n k c i n e m a t o g r a p h i c a l l y , w i t h t h e m o s t s t u b b o r n sincerity, t h e possibility o f a relationship
between human beings, a n d t o be able t o d o t h a t he c a n n o t presuppose a system of
symbols c o m m o n t o the protagonists a n d the spectators. H e must try hard t o s h o w how, o n
t h e c o n t r a r y things t h e m s e l v e s start t o m a k e a sign, o r h o w t h e characters f i n d a w a y t o be
c o n n e c t e d b y s o m e t h i n g t h e y s h a r e . T h e f i s h h o o k i n The Isle neatly represents t h a t process.

A mute young woman manages a h a m l e t o f f l o a t i n g houses scattered in a l a g o o n and

o c c a s i o n a l l y sells h e r b o d y t o h e r t e n a n t s . Sh e e s t a b l i s h e s w i t h o n e o f t h e m , a n a p p a r e n t l y
restrained, cal m y o u n g m a n , a special relationship m a d e of silent observation, approaches
a n d flights. S o m e t h i n g decisive h a p p e n s w h e n a police l a u n c h tours t h e huts a n d t h e y o u n g
m a n s o t e m p e r e d , u n d e r t a k e s t o s w a l l o w a b u n c h o f f i s h h o o k s . For i t is n o t o n l y a v i o l e n t
g e s t u r e , it's a l s o a b i z a r r e o n e . Impossible n o t t o see in t h a t a way, if s l i g h t l y crazy
u n n e c e s s a r i l y b l o o d y , a n d u n n e c e s s a r i l y visual, t o kill o n e s e l f ( w i t h a l m o s t ritual aspects, like
a k i n d o f l i t t l e s e p u k u , if n o t e n t i r e l y a s u i c i d e , t h e n a b i t l i k e a sacrifice). T h e girl h i d e s h i m ,
saves his l i f e , a n d b y d o i n g t h a t , gets h i m i n t o d e b t . N o w s o m e t h i n g has h a p p e n e d . P e r h a p s
i n t h e p a s t t h e y h a v e s l e p t t o g e t h e r , b u t i t w a s p r o s t i t u t i o n , t h a t d i d n ' t count, for every event
o r d e b t i n t h e ' q u i c k i e ' has b e e n n e u t r a l i z e d b y m o n e y . N o t h i n g o v e r l a p p e d t h e t r a d i n g .
L a t e r w h e n i t is t h e g i r l ' s t u r n t o s t i c k f i s h h o o k s i n h e r v a g i n a , i n a s c e n e e v e r y b i t as p a i n f u l
t o w i t n e s s , s h e d o e s n ' t w a n t t o d i e a t a l l . She r e m i n d s h i m w h a t s h e has f r e e d h i m f r o m .
A n d s h e f o r c e s h i m t o f r e e h e r i n his t u r n . W i t h t h a t r e m i n d e r s h e g i v e s m e a n i n g t o a g e s t u r e
w h i c h d i d n ' t h a v e any, w h i c h l i t e r a l l y w a s n o t a gesture b u t the action of killing oneself.
R e p e a t e d b u t n e u t r a l i z e d , in a w a y r e p r e s e n t e d , p l a y e d , t h a t a c t i o n can n o w b e c o m e a
g e s t u r e , m e a n i n g t h e s u b s t a n c e o f a s i g n , as it is a p r a y e r s h e a d d r e s s e d t o h i m t o s t a y That
r e p e t i t i o n o f t h e a c t i o n , t h o u g h i t d o e s n o t c h a n g e t h e n a t u r e o f t h e a c t i o n , n o l o n g e r kills,
b u t m a k e s a sign. A p r a y e r i n f i n i t e l y m o r e c o n s t r a i n i n g t h a n a w o r d . S u p p o s e t h e m u t e girl
is n o t r e a l l y m u t e ( l i k e t h e false m u t e i n The Bow w h o , occasionally whispers oracles),
language w o u l d n o t h o l d that power. Language d e m a n d s n o s a c r i f i c e , o n e c a n f r e e l y lie
w i t h o u t p a y i n g t h e p r i c e , w i t h o u t i t r e a c h i n g t h e l i a r i n his o w n b o d y , w h i l e t h e g i r l w h o
c o m m u n i c a t e s t h a t w a y cannot lie, a n d t h a t is b e c a u s e s h e c e r t a i n l y c o u l d n ' t d o h e r s e l f so
m u c h h a r m for nothing t h a t t h e y o u n g m a n is so t o t a l l y f o r c e d t o c o m e t o h e r r e s c u e . The
bringing into play of t h e b o d y a n d m o r e precisely t h e gratuity of violence o n e forces u p o n
it, p r o d u c e s i n r e a l i t y s o m e t h i n g l i k e s y m b o l i c s . A r e p e t i t i o n o f t h e v i o l e n c e e x e r t e d on
o n e ' s b o d y b u t a n e u t r a l i z a t i o n o f its s u i c i d a l i n t e n t i o n : i n t h e e m p t i n e s s c r e a t e d b y t h e
g r a t u i t y o f w h a t has m e t a m o r p h o s e d i n t o a g e s t u r e , s o m e t h i n g passes, s o m e t h i n g h a p p e n s ,
t h e r e m i n d e r o f a d e b t a n d t h e i n j u n c t i o n g i v e n t o t h e y o u n g m a n t o stay.

It is n o t b y l e a v i n g t h e r e g i s t e r o f v i o l e n c e t h a t o n e r e a c h e s m e a n i n g . It is b y e m p t y i n g
t h a t v i o l e n c e o f all j u s t i f i c a t i o n , i n t h e b e g i n n i n g o f a r i t u a l , a n d b y d i v e r t i n g v i o l e n c e f r o m
its e n d . T h e v i o l e n t a c t i o n c a n b e c o m e g e s t u r e a n d s i g n . T h e g e s t u r e o f t h e m u t e g i r l is t h e
representation of the action to which i t is h o w e v e r identical. Identically savage and
a t r o c i o u s , b u t h o w e v e r , s t a g e d . T h e s a m e t h i n g , b u t a c t i n g its o w n p a r t . T h a t is t h e p r i m i t i v e
reduplication which makes a sign. The sharing of a wound was necessary, the
t r a n s f o r m a t i o n o f a w o u n d i n a sign o f m u t u a l r e c o g n i t i o n , i n o r d e r t h a t r e l a t i o n s w i t h o u t
deceit h a p p e n . The fishhook ends u p symbolizing the difficulty of the irretrievable, w i t h o u t
t h e h a r s h n e s s o f w h i c h t h e r e w o u l d b e n o r e a s o n t o s t a r t s o m e t h i n g l i k e a s h a r e d story .
W h a t ' s t h e use o f r i s k i n g b e t r a y a l , lies a n d murder?

The sa cr i fi ci a l reparation

Still t h e passage t o a s y s t e m o f s y m b o l s d o e s n ' t m e a n o n l y t h e b e g i n n i n g o f a s t o r y : t h e

r i t u a l r e p e t i t i o n c a n u n d o u b t e d l y b e c o m e sign ( o f a d e b t ) , b u t a l s o acts m o r e g e n e r a l l y as
t h e b a l a n c i n g o f f o r c e s , as t h e r e p a r a t i o n o f t h e i n s i g n i f i c a n c e . E v e r y b e i n g , w h e n he
d e s i r e s , r a v a g e s s o m e t h i n g , a n d l e a v e s i t t h e r e , in suspense, w h i c h is e x a c t l y t h e d e f i n i t i o n
of a n x i e t y : t h e unsolve d leftovers of u n f i n i s h e d stories, u n p u n i s h e d c r i m e s , a n d t h a t c a n c e r
spreads, mixes in w i t h e v e r y t h i n g , spoils e v e r y t h i n g . T h u s a sacrifice is n e e d e d . It is
necessary t o t a k e u p , t o repeat t h e original a c t i o n w h e r e t h e a n x i e t y s t e m m e d f r o m . H e n c e
t h e b i z a r r e g e s t u r e o f Y e o - j i n g i n Samaritan Girl. P r o s t i t u t i o n still, b u t free this t i m e f r o m a
r e l a t i o n s h i p t o t h e d o m i n a n t : a t e e n a g e girl, Jae-young , a m i c a b l y p i m p e d b y her girl f r i e n d
Y e o - j i n g , sells h e r b o d y t o f i n a n c e a t r i p t o E u r o p e ( u n l e s s i n t h i s c a s e , t h e p i m p is E u r o p e ) .
But t h a t p l a n r e m a i n s u n f i n i s h e d : c a u g h t b y t h e v i c e s q u a d , she choses t o t h r o w herself o u t
the w i n d o w rather than be caught. Yeo-jing, w h o c o u l d n ' t stand her f r i e n d being a
prostitute, is s u d d e n l y in possession of a useless h o a r d of m o n e y suddenly become
s o m e t h i n g surplus, t h e i n c a r n a t i o n o f e x c e s s itself. N o l o n g e r a d e b t o f s o m e o n e towards
s o m e o n e e l s e , b u t d e b t i n its p u r e f o r m , a c o s m i c s u r p l u s p r e v e n t i n g h a r m o n y . W h a t t o d o
w i t h t h a t t h i n g i n s u s p e n s e ? H o w t o s u p p r e s s it? G i v i n g i t b a c k t o t h e c l i e n t s w o u l d n ' t b e
e n o u g h , f o r it w o u l d be n o t h i n g m o r e t h a n a gesture, t h a t w o u l d n ' t c a n c e l w h a t t h a t m o n e y
c o n t a i n s , all t h o s e ' q u i c k i e s ' w h o s e p a y m e n t it is, all t h a t w e i g h t o f p a i n , l i f e , f l e s h , w h o s e
s y m b o l i z i n g it is. So Y e o - j i n g , i n h e r t u r n , w i l l h a v e t o p a y w i t h h e r o w n b o d y i n o r d e r t o
g e t r i d o f t h e m o n e y , r e p e a t i n g t h e a c t i o n i n r e v e r s e , u n d o i n g w h i l e d o i n g . If J a e - y o u n g w a s
securing a b a l a n c i n g , half-sacrificial, h a l f - a c c o m m o d a t i n g , o f social forces, Yeo-jing secures
a b a l a n c i n g o f c o s m i c f o r c e s . For i n r e a l i t y Y e o - j i n g d o e s n ' t p r o s t i t u t e h e r s e l f , s h e doesn't
t a k e t h e m o n e y o f t h e m e n s h e gives herself t o , precisely; she repeats, step b y step, Jae-
y o u n g ' s p r o s t i t u t i o n , b u t t h e a c t i o n b e i n g s e p a r a t e d f r o m its c o n c l u s i o n , it b e c o m e s a r i t u a l
g e s t u r e , w i t h w h i c h t h e a c t i o n is r e v e r s e d : n o w t h e c l i e n t s a r e t h e p r o s t i t u t e s , s i n c e it's t h e i r
t u r n t o receive t h e m o n e y A t t h e e n d o f t h e d a y t h e y w o u l d h a v e p a i d t h e m s e l v es in an
act of prostitution whose order of terms (prostitute-client) will have been abolished.

T h e r e p e t i t i o n o f t h a t p r o c e s s l e a v e s n o t h i n g t o c h a n c e , as its use i n Spring, Summer,

Fall, Winter... and Spring b e a r s w i t n e s s . So, t h e y o u n g d i s c i p l e , a f t e r h a v i n g t o r t u r e d a f i s h ,
a f r o g a n d a s n a k e is f o r c e d b y his m a s t e r t o g o i n s e a r c h o f his v i c t i m s w h i l e c a r r y i n g a s t o n e
o n his b a c k . B e c o m i n g t h u s t h e s y m b o l i c v i c t i m o f his o w n c r i m e , so as t o n e u t r a l i z e t h e
r e l a t i o n s h i p b e t w e e n v i c t i m - t o r t u r e r a n d t h e i n e q u a l i t y left in suspense. Repetition which
i n The Isle w a s p r o d u c i n g signs o f c o m m u n i c a t i o n , h e r e p r o d u c e s s a c r e d signs.

But r e p e t i t i o n f u n c t i o n s t h e n in t h e closed universe o f t h e monastery. U n l i k e t h e h e r o

i n Spring... t h e h e r o i n e i n Samaritan Gid m u s t still c o n f r o n t a n o t h e r v i o l e n c e : h e r f a t h e r ' s
m i s u n d e r s t a n d i n g . T h e c o n d u c t s h e has t o a d o p t o n o n e s i d e t o s e c u r e s o m e harmony
c o n t r i b u t e s , o n t h e other, t o p r o d u c i n g t r o u b l e . O b v i o u s l y she d o e s n ' t t r y e x p l a i n i n g herself:
t h e r e l i g i o s i t y , t h e s a n c t i t y o f h e r g e s t u r e c o u l d n ' t s u r v i v e its e n u n c i a t i o n . T h e d i f f e r e n c e is
a b s o l u t e , t h u s t r a g i c : t h e f a t h e r c a n ' t d o a n y t h i n g e l se t h a n s y m b o l i c a l l y k i l l his d a u g h t e r ,
t h e d a u g h t e r c a n n o t d o a n y t h i n g else t h a n t o a c c o m p l i s h h e r s i l e n t s a c r i f i c e . For t h e r e is
s o m e t h i n g m o r e i m p o r t a n t t h a n t h e respect d u e to one's father; in Kim Ki-duk's films,
family is p a r t o f t h e o l d i n s t i t u t i o n s , o p p r e s s i v e and now meaningless, o r els e s i m p l y
impossible, gnawed f r o m w i t h i n b y r i v a l r y o r p r o s t i t u t i o n (as i n Birdcage Inn). Address
Unknown gives a t e r r i f y i n g e x a m p l e : a s o n c u t s his m o t h e r ' s b r e a s t t o t a k e r e v e n g e o n h e r
f o r n o t h a v i n g a f a t h e r , w h i l e a l i t t l e w h i l e later, t h e m o t h e r e a t s h e r d e a d s o n . F a m i l y no
longer f u n c t i o n s , e i t h e r c o l l a p s i n g f r o m w i t h i n in a regressive a n d m o n s t r o u s a u t o p h a g y , o r
t e a r i n g itself a p a r t t i l l i t d i e s . In its n o n - f u n c t i o n i n g , i t c a r r i e s o n , l i k e t h e l a w , l i k e t h e a r m y
t o p r e v e n t s o m e t h i n g f r o m h a p p e n i n g , a n d t o l e a d t o t h e m o r b i d all t h a t is t r y i n g t o m a k e
a w a y between closed worlds.

Vanishing lines

B u t it all h a p p e n s as if K i m K i - d u k , i n h i s f i l m s , w a s t r y i n g t o d r a w v a n i s h i n g l i n e s , t o
escape f r o m t h e endless r u n n i n g i n t o d e b t s w h i c h , at t h e e n d o f t h e day, a l w a y s d e m a n d a
s a c r i f i c e . "As I m a k e f i l m s 1 c h a n g e m y m i n d , m y v i s i o n o f t h e w o r l d a n d l i f e c h a n g e s , " he
declares. T h e first f i l m s h a r d l y offe r a n y v a n i s h i n g lines, a n d , w h e n t h e y h a p p e n , t h e y lead
t o m a d n e s s o r d e a t h . A s i n Coast Guard, f o r e x a m p l e , b u t a l s o i n Samaritan Gid, in w h i c h
Jae-young incarnates, m o r e than any other characters in K i m Ki-duk's films, a k i n d of
i m m e d i a t e i n n o c e n c e . T h a t is p r e c i s e l y w h a t f i r s t p u t s Y e o - j i n g b e s i d e h e r s e l f : s h e d o e s n ' t
understand w h y h e r y o u n g f r i e n d , i n t h e m i d d l e o f w h a t is s u p p o s e d t o b e t h e w o r s t
d e f i l e m e n t f o r a w o m a n , is a l w a y s laughing. A f u n n y v a n i s h i n g line for, w i t h her laughter,
J a e - y o u n g d e f u s e s all v i o l e n c e : o n e c a n h a v e sex w i t h her, b u t o n e c a n n o t r e a c h her, o n e
c a n n o t so// her. S h e i n v e n t s f o r h e r s e l f a k i n d o f i n v i o l a b i l i t y . It is as if, w i t h h e r l a u g h t e r , s h e
w a s d o d g i n g t h e f l u x o f v i o l e n c e : o n e c a n c a r r y o n b a n g i n g her, s e x u a l l y o b v i o u s l y , o n e
c a n n o t see t h e e f f e c t o n her. V i o l e n c e c a n b e u n l e a s h e d : as i n T a o i s m , s h e has t o r e f r a i n
f r o m e c h o i n g i t , f r o m h o l d i n g o n t o t h e i n t e n s i t i e s o f p a i n o r h u m i l i a t i o n w h i c h pass o v e r t h e
b o d y , f r o m a p p r o p r i a t i n g a n y t h i n g . T h e n v i o l e n c e g o e s a w a y b e c a u s e t h e r e is n o t h i n g l e f t
t o hurt, f o r o n e has m a d e o n e s e l f i m p r e g n a b l e . For w a n t o f b e i n g a b l e t o r e a l l y s a v e o n e ' s
b o d y f r o m b l o w s a n d rape, o n e m a d e disappear w h a t was ther e t o be beaten, t o be r a p e d :
oneself. H o w k i n d b e c o m e s t h a t p r o s t i t u t e w h i c h isn't o n e , w h o , strangely w o u l d like t o
s a v e t h e m e n s h e has sex w i t h . E v e n h e r d e a t h m a k e s h e r s m i l e : s h e s m i l e s as s h e j u m p s
i n t o t h e v o i d , s h e still s m i l e s o n h e r d e a t h b e d , s c a n d a l i z i n g Y e o - j i n g w h o h a s n ' t still e a r n e d
t h e i n n o c e n c e , w h o w i l l o n l y reach it t h r o u g h i n v e r t e d p r o s t i t u t i o n w h i c h she w i l l practise
later, f i n d i n g i n h e r t u r n t h a t s i l e n c e a n d t h a t s m i l e w h i c h w e r e t h o s e o f h e r d e a d f r i e n d .

It is, h o w e v e r , in 3- iron t h a t t h e less m o r b i d a n d p u r e s t v a n i s h i n g l i n e is t r a c e d . T h e f i l m

tells t h e s t o r y o f a y o u n g m a n , Tae-suk, w h o e n t e r s e m p t y h o u s e s , b u t n o t t o b u r g l e t h e m : o n
t h e c o n t r a r y , h e m e n d s w h a t n o l o n g e r w o r k s , l a m p s , e l e c t r i c g o o d s a n d d o m e s t i c bits a n d
pieces. A n i n n o c e n t repairin g angel w h o m n o d o o r stops, b u t w h o , at a given m o m e n t , like
all t h e o t h e r c h a r a c t e r s , m u s t f a c e t h e law. O n c e a g a i n t h e c o n f l i c t is t h e e f f e c t o f t h e i r r u p t i o n
o f d e s i r e , t h a t f e l t b y Tae-suk f o r S u n - h o u a , a young married w o m a n he meets, w i t h o u t
e x c h a n g i n g a w o r d , i n o n e o f t h o s e h o u s e s . A n d it is i n his j a i l , o n c e in i r o n s , t h a t h e w i l l b e g i n
t o become invisible f o r g o o d . T h e j a i l e r , n o t s e e i n g his p r i s o n e r i n t h e r e d u c e d a n g l e o f f e r e d
b y t h e s p y h o l e i n t h e c e l l d o o r , is f o r c e d t o g o i n , b u t , i n s p i t e o f t h e s m a l l n e s s o f t h e p l a c e ,
i n s p i t e o f its w a n h o m o g e n e o u s l i g h t , c a n n o t see t h e o n e w h o , e v e n i n t h i s p r i s o n , is o n l y a
t e n a n t , a n a b s o l u t e n o m a d w h o n e v e r b l e n d s i n t o t h e p l a c e s h e haunts. As i n t h e d a r k e s t
f o r e s t , t h e k e e p e r stand s q u i e t l y in t h e m i d d l e o f t h e c e l l , l i k e a n a n i m a l o n t h e l o o k o u t f o r
t h e slightest t r a c e ( s h a d o w , m o v e m e n t , b r e a t h ) w h e r e t h e material presence of the prisoner
w o u l d b e b e t r a y e d , t h e p r i s o n e r o f w h o m o n e n o l o n g e r k n o w s w h a t p r e c i s e l y is i m p r i s o n e d .
T h e j a i l e r ' s a n g e r is c o u p l e d w i t h t o t a l i n c o m p r e h e n s i o n : w h a t ' s t h e use, h e asks, f o r I shall
e n d u p f i n d i n g y o u , a n d s i n c e I shall f i n d y o u , I shall b e a t y o u t o p u n i s h y o u ? W h a t sense is
t h e r e in t h a t , f o r y o u h a v e n ' t r e a l l y e s c a p e d , f o r y o u w i l l n o t really escape m y blows? During
t h a t t i m e Tae-suk h i d e s b e h i n d h i m , i n t h e s h a d o w o f his jailer, l i k e a d o u b l e , a c c o m p a n y i n g
all t h e m o v e m e n t s o f t h e m a n w h o , i n t h o s e f e w t i n y s q u a r e m e t r e s , is a n x i o u s l y l o o k i n g f o r
h i m . H i s a n x i e t y a l o n e is e n o u g h t o p r o v e t h e success o f t h a t e s c a p e w i t h o u t e s c a p e , t h a t
e s c a p e on the spot. T h e c h a r a c t e r d o d g e s t h e v i o l e n c e b y s p a r i n g h i m s e l f , i n r e a l i t y itself, a
z o n e of indiscernabilit y b e t w e e n presence a n d absence, b e t w e e n m a t t e r a n d spirit, t o such a
d e g r e e t h a t it is t h e j a i l e r w h o t h i n k s he's b e c o m i n g m a d . For if t h e r e is n o real e s c a p e , t h e r e
is still a k i n d o f e s c a p e n e v e r t h e l e s s . V i o l e n c e n o l o n g e r t o u c h e s h i m . O n c e Tae-suk is f r e e d ,
it d o e s n ' t m a t t e r if t h e o w n e r s o f t h e h o u s e s h e c a r r i e s o n p e n e t r a t i n g a r e p r e s e n t o r n o t . T h a t
d o e s n ' t c h a n g e a n y t h i n g n o w . H e c a n n o l o n g e r b e c a u g h t . So, m e e t i n g u p w i t h Sun-houa
a g a i n , w h o s e h u s b a n d h a d h i m j a i l e d , h e c a n s t a n d b e h i n d h i m w h i l e t h e h u s b a n d is kissing
her. W h a t b e t t e r , m o r e b e a u t i f u l w a y to foil w h a t can never b e , n a m e l y t h e reality, t h e
v i o l e n c e o f r e l a t i o n s h i p , t h e conflicts o f desire, d i s c o r d w i t h o u t salvation?

O n e can c o m p a r e that becoming-invisible to that, c o m p l e t e l y missed, of the y o u n g m a n

i n The Isle: h e has n o t f o u n d t h e p a r a d e o f t h e o t h e r . W h e n t h e v i c e s q u a d c o m b s the
l a g o o n , h e d o e s n ' t t r y t o h i d e his b o d y . T h e r e is, i n his b e h a v i o u r , s o m e t h i n g t e r r i b l y r a d i c a l
a n d i n a s e n s e , literal: he doesn't try t o m a k e himself disappear f r o m t h e eyes of others, t o
d i s a p p e a r " m e t a p h o r i c a l l y " , b u t t o d i s a p p e a r all t o g e t h e r . A b e c o m i n g - i n v i s i b l e w h i c h , o n
t h i s o c c a s i o n , c o u l d h a v e b e e n p a i d f o r w i t h his o w n d e a t h . T h a t is w h a t a l l o w s us t o t h i n k
t h e p a r a d e i n 3- iron l i k e t h e o u t c o m e o f a p e r s i s t e n t s e a r c h b y t h e d i r e c t o r , as if h e never
really w a n t e d t o give u p o n the possibility o f an escape w h i c h was not morbid. The
p r o g r e s s i v e s l i d i n g i n t o s i l e n c e i n t h e c o u r s e o f his c a r e e r b e a r s w i t n e s s t o t h a t t o o : first, a
f o r c e d m u t i s m , t h e i r r e v e r s i b l e s y m p t o m o f a s u s t a i n e d v i o l e n c e , it s l o w l y b e c o m e s a chosen
silence a n d p l a c e o f p u r i t y , as i n Spring..., as i n The Bow. A silence w h i c h , instead of
r e n o u n c i n g forever the possibility of a m e a n i n g covering t h e absurd, w h i c h , instead of b e i n g
c o n s e q u e n t l y t h e n e g a t i o n o f all w o r d s , b e c o m e s , o n t h e c o n t r a r y t h e s u p r e m e p o s s i b i l i t y
T h e w h o l e l a n g u a g e is t h u s s a v e d , i n a d i s a p p e a r a n c e w h i c h is e q u a l t o t h a t o f t h e t e n a n t : i t
exists e n t i r e l y as s i l e n c e , t h a n k s t o w h i c h poetry w i l l n o w b e p o s s i b l e . It w a s n e c e s s a r y f o r
t h e w o r d s t o s t o p g o i n g astray, t o b e c o m e o n c e a g a i n t h a t s i l e n t m a n u f a c t u r e r o f m e a n i n g
w h i c h saves us f r o m t h e a b s u r d , so t h a t , f o r e x a m p l e , m a k i n g l o v e b e c o m e s p o s s i b l e a g a i n .
For, as L a c a n s a i d , " t o m a k e l o v e , as its n a m e i n d i c a t e s , is p o e t r y " (Encore). O n e can easily
see t h e e v o l u t i o n f r o m Bad Guy: FHang-gi c o u l d o n l y love Sheon-Hwa when he was
concealed by the artifice of a t w o - w a y m i r r o r w h i c h physically separated t h e m , a device
g e n e r a l l y k n o w n i n K o r e a o n l y f o r its b y the police. "Those windows which divide the
p e o p l e , " K i m K i - d u k e x p l a i n s o n t h a t s u b j e c t , " a r e a t t h e s a m e t i m e eas y a n d d i f f i c u l t t o
b r e a k . " H a n g - g i ' s i n v i s i b i l i t y costs a l o t : n o less t h a n t h e p h y s i c a l r e a l i t y o f s e x u a l i n t e r c o u r s e .
S e x u a l i n t e r c o u r s e is o n l y p o s s i b l e w h e n n e u t r a l i z e d , t r a n s f o r m e d i n t o a n i n o f f e n s i v e i m a g e
o n a w i n d o w , i n a w a y , cinema. T h e t e n a n t ' s i n v i s i b i l i t y , o n t h e c o n t r a r y costs h i m n o t h i n g .
H i s s e x u a l i t y is r e a l , c o n c r e t e , a n d t h e h u g e s o c i a l c o s t o f t h a t s e x u a l i t y , w h o s e previous
a t t e m p t s h a v e t u r n e d t o t h e m o r b i d , is o n l y p a i d h e r e t h r o u g h a s y m b o l i c disappearance.
That was t h e secret: it was merely a question of becoming nobody. W h a t prevented
s o m e t h i n g f r o m h a p p e n i n g w a s t h a t s e d i m e n t a t i o n o f a c l o s e d i n d i v i d u a l , o f a m o r e o r less
f i c t i v e self, o r e v e n b e t t e r , s t r i c t l y defensive, e x i s t i n g o n l y as r e v o l t a g a i n s t t h e outside
v i o l e n c e , a r o u n d a first h u m i l i a t i o n - a b i t l i k e w h e n t h e s k i n a r o u n d a n i n f e c t e d w o u n d
b e c o m e s h a r d a n d r e d . B u t if t h e p e r s o n , i n t h e i r s o c i a l reality , d i s a p p e a r s , if t h e y o n l y r e m a i n
i n t h e s t a t e o f a g h o s t l y a n d r e p a i r i n g p r e s e n c e , m e a n i n g : w h a t is l e f t o f life w h e n o n e has
taken a w a y everything o n w h i c h violence c o u l d be exerted, o n l y t h e n can t h e w i n d o w s be
s h a t t e r e d . T h a t is also w h a t The Bow s h o w s : it is t h r o u g h t h e d i s a p p e a r a n c e o f his p h y s i c a l
r e a l i t y a n d , w i t h i t , t h a t o f o l d a g e w h i c h f o r b a d h i m t o possess t h e g i r l , t h a t t h e o l d m a n c a n
b r e a k t h e w i n d o w a n d , as a g h o s t , i n t h a t l i t t l e b i t o f s u r v i v i n g l i f e w h i c h h e is l e f t w i t h , m a k e
l o v e t o her. T h a t is t h e u n i q u e p a r a d e t o t h e a b s o l u t e d i f f e r e n c e , t h e o n l y v a n i s h i n g l i n e
perfectly vanishing: n o longer v i o l e n c e , n o longer t h e lie, b u t invisibility
 To b e c o m e n o b o d y is a n o l d t h e m e i n B u d d h i s m , w h i c h Spring... e c h o e s : its c h a r a c t e r s
n o l o n g e r h a v e a n a m e . If o n e is n o b o d y , o n e h a s n ' t g o t t h e d e s i r e t o possess, n o m o r e t h a t
t h e d e s i r e t o k i l l . T h a n k s t o his a n o n y m i t y t h e o l d m o n k i n Spring... slips i n t o t h e i n f i n i t e l y
fragile e q u i l i b r i u m of a big w h o l e .

Surplus becomes the picture

In Spring..., s p e c i f i c a l l y , a n d e v e n m o r e i n The Bow, anothe r line appears, at w o r k since

the beginning perhaps, but concealed, v e i l e d b y t h e r o u g h n e s s o f t h e i m a g e , as i n Wild
Animals, K i m K i - d u k ' s s e c o n d f i l m , w h i c h , d e s p i t e a r a t h e r d u l l p h o t o g r a p h y , p u t s us o n t h e
right t r a c k : at t h e start w e are s h o w n t h e y o u n g a n t i - h e r o a r r i v i n g at t h e p a i n t e r ' s place,
b e a t i n g h i m till h e d r a w s b l o o d a n d , w i t h t h a t b l o o d , f i n i s h i n g t h e p a i n t i n g in progress. T h e
f l o w o f b l o o d is n o t o n l y in K i m K i - d u k ' s f i l m s , t h e p r o o f t h a t s o m e t h i n g is h a p p e n i n g . Or
s h o u l d w e say r a t h e r : if t h r o u g h b l o o d , s o m e t h i n g h a p p e n s , i t is b y v i r t u e o f its visual reality.
T h r o u g h its o u t p o u r i n g , s o m e t h i n g makes it a picture. The privilege of b l o o d f r o m the p o i n t
o f v i e w o f its s y m b o l i c p o w e r is n o t o n l y d u e t o t h e f a c t t h a t i t g i v e s a p r i c e t o t h e g e s t u r e
which accompanies i t , b u t also t o t h e f a c t t h a t i t is v i o l e n t l y v i s u a l . C i n e m a t o g r a p h i c a l l y , it
c a u s e s a stir. A n aesthetic imperative is f o u n d w h e r e one didn't expect it, w h e r e the
characters are a b s o r b e d b y t h e i r survival only, an i m p e r i o u s i m a g e - m a k i n g w h e r e t h e sense
of Kim Ki-duk's artistic gesture can be read implicitly: the image aspires to a visual
r e p a r a t i o n o f v i o l e n c e . T h e r i t u a l i z a t i o n o f t h e o r i g i n a l v i o l e n c e , b y d i v e r t i n g i t f r o m its b l i n d
insignificance, transform s it i n t o a p a i n t i n g , a flag, a banner, a visual a n d aesthetic sign
displayed t h e r e . T h e o u t p o u r i n g o f b l o o d t r a n s f e r s all t h e v i o l e n c e i n t o t h e v i s u a l character
o f b l o o d . L e t us t h i n k o n l y o f t h e i n c r e d i b l e s c e n e o f a b o r t i o n i n Coast Guard: the mad
y o u n g g i r l i m m e r s e s h e r s e l f i n t h e f i s h t a n k , w h o s e f o r m itself, a p a r a l l e l e p i p e d a l , calls t o
m i n d t h e f r a m e o f a p a i n t i n g , o r a t e l e v i s i o n , a n d w h o s e t r a n s p a r e n c y is s l o w l y c l o u d e d by
t h e p u r p l e o p a c i t y o f h e r b l o o d . T h e e v e n t is n o t s o f t e n e d , n o r its v i o l e n c e d i m i n i s h e d b y
t h e c o l o u r . O n t h e contrary, t h e c o l o u r m a g n i f i e s t h e intensity, b u t , d o i n g so, gathers it a n d
limits it. T h r o u g h t h e d e v i c e o f t h e fish t a n k , t h e b l o o d d o e s n ' t f l o w a n y w h e r e n o r in v a i n :
t h e fish t a n k , o n t h e c o n t r a r y receives it, keeps it, a n d t r a n s f o r m s it i n t o a p a i n t i n g . T h e
i n t e n s i t y o f t h e v i o l e n c e is a t t h e s a m e t i m e m a g n i f i e d a n d r e d e e m e d b y t h e i n t e n s i t y o f t h e
c o l o u r . As if, j u s t as l i g h t , i n o r d e r t o b e s e e n , m u s t m e e t an obstacle, v i o l e n c e , t o be
bearable, must b e c o m e a n i m a g e . A n o t h e r s c e n e , t h a t o f t h e s u i c i d e i n Birdcage Inn: it's
o n l y because of t h e b e a u t i f u l r e d stain o n t h e w r i s t o f t h e p r o s t i t u t e t h a t t h e spectator, as
w e l l as t h e r i v a l , u n d e r s t a n d s t h a t s h e w a n t e d t o d i e . F r o m t h e v e i n s o f t h a t b o d y , w h i c h ,
f r o m t h e v i e w p o i n t o f s o c i e t y is i r r e v e r s i b l y s p o i l t , s u d d e n l y a p p e a r s s o m e t h i n g p u r e and
bright. The unrecognized Luc Dietrich, being knifed, w r o t e these extraordinary lines:
" B l o o d f l o w s i n t h e h o l l o w o f m y h i p , m y h a n d s c a n n o l o n g e r h o l d i t . It is b e a u t i f u l , i t is
p r e c i o u s , a n d it's f l o w i n g a w a y . A n d I m a r v e l t h a t f r o m m e , w h o has e a t e n s o m u c h s l i m e ,
c h e w e d so m u c h g r e y f o o d , c o m e s s u c h a r e d s u b s t a n c e . " {L'Apprentissage de la ville)

T h a t f i n e l i n e w h i c h g o e s f r o m f i l m t o f i l m , s l o w l y r e a c h e s e f f l o r e s c e n c e . So, i n The Bow,

that supernatural and slightly lyrical e n d i n g : t h e o l d man, having realized t h a t reality
c o n t r a d i c t e d i r r e v o c a b l y t h e r e a l i z a t i o n o f his d e s i r e , t h r o w s h i m s e l f i n t o t h e w a t e r . B e f o r e
t h a t , h e f i r e s a n a r r o w i n t o t h e sky, a p p a r e n t l y a t r a n d o m , t h a t o n e sees later, w h e n the
y o u n g g i r l , a s l e e p o n t h e d e c k , s e e m s t o m a k e l o v e t o i n a d r e a m , p l a n t e d b e t w e e n h e r legs.
T h e a r r o w is t h e o l d m a n ' s r e l i c s , u n i o n b e t w e e n t h e d e a d a n d t h e l i v i n g , s i n c e s h o t a n t e -
m o r t e m i t falls d o w n p o s t - m o r t e m , l i k e t h e still t w i n k l i n g l i g h t o f stars a l r e a d y d e a d . But,
w h e r e t h e a r r o w f e l l , b l o o d a p p e a r s , t h e b l o o d o f l o s t v i r g i n i t y , as if i t w a s t h e a r r o w w h i c h
h a d p i e r c e d her, b u t a l s o , d e l i c i o u s c o m p l i c a t i o n , as if the o l d m a n h a d really p e n e t r a t e d
her. T h e a r r o w p r o d u c e s t h o s e t w o as ifs w i t h o u t s e t t l i n g b e t w e e n t h e m , so t h a t t h e b l o o d
r e m a i n s u n e x p l a i n e d , in excess o r in suspense, b e i n g n e i t h e r t h a t o f t h e a r r o w n o r t h a t o f
l o s t v i r g i n i t y . A n d i t is t h a t e x c e s s w h i c h , t h r o u g h its s o l e v i s u a l r e a l i t y a n d , i n a w a y , by
m a k i n g a p a i n t i n g , testifies t o t h e reality o f t h e e v e n t a n d t h e irreversibility o f t h e love
m a k i n g . It m a g i c a l l y c e r t i f i e s t h a t all is n o t o n l y a d r e a m . In Bad Guy, on the contrary, w h e n
Sheon-Hwa, r e d u c e d t o slavery loses h e r v i r g i n i t y , K i m K i - d u k d o e s n ' t s h o w t h e b l o o d :
v i o l e n c e is n o t r e d e e m e d b y t h e s y m b o l , it d o e s n ' t r e a c h r e p r e s e n t a t i o n i n a p i c t o r i a l f o r m
w h i c h w o u l d l i m i t its e f f e c t . T h e v i o l e n c e here precisely consists in t h e i m p o s s i b i l i t y t o
t r a n s f o r m t h a t act in a significant e v e n t , historical in a w o m a n ' s life, w h i c h u n d e r l i n e s a
contrano, the role of c o l o u r (pictorial or musical) in t h e unforgiving time of decoded
relationships: before the artistic display whose example is o f f e r e d by The Bow, the
i r r e p a r a b l e is n o t s p i r i t u a l i z e d , i t is a n o p e n w o u n d w i t h o u t c o m p e n s a t i o n , w i t h o u t i m a g e .
W i t h t h e i m a g e , o n t h e c o n t r a r y , it b e c o m e s possible t o c o n t a i n the big h a e m o r r h a g e of
p a s s i n g t i m e . So t h e a r r o w in The Bow is n o t a s y m b o l , b u t the s y m b o l par ex cellence: the
p r e s e n c e o f an a b s e n c e . T h e v i s i b i l i t y o f t h e i n v i s i b l e . T h e i m a g e o f an image-less, b y w h i c h
t h e i m a g e - l e s s is r e d e e m e d . It w a s a l r e a d y t h e r e i n t h e l o v e - m a k i n g i n Birdcage Inn, whose
b e a u t y s e e m s t o r e d e e m p r o s t i t u t i o n : let's m e n t i o n t h e s u m p t u o u s s h o t w h e r e t h e y o u n g
h e r o i n e , i n a l o w - a n g l e s h o t , m a k e s l o v e o n a d i v i n g b o a r d , o r els e t h a t o t h e r s h o t , i n t h e
b e d r o o m , w h e r e t h e m o v e m e n t s o f t h e b o d i e s m a k e t h e p i c t o r i a l d r a p e s s h a k e , as if t h e
i m p o s s i b i l i t y o f t h e s e x u a l r e l a t i o n s h i p w e r e , t h r o u g h t h a t , b a l a n c e d . To g a t h e r t h e e x c e s s -
t h e v i o l e n c e - w h i c h sets d e s i r e s a g a i n s t o n e a n o t h e r , a n d t o m a k e i t s h i n e b y itself. It n o
l o n g e r is a q u e s t i o n o f s i g n i f y i n g s o m e t h i n g f o r o n e a n o t h e r , b u t o f p r o d u c i n g p u r e signs,
a r t i s t i c s i g n s : i n Birdcage Inn again , t h e r e c o n c i l i a t i o n o f t h e " t w o hostile sisters" happens
o n a graphic or pictorial m o d e , o n l y t h r o u g h the fortuitous resemblance of a close-up w i t h
E g o n S c h i e l e ' s The Two Sisters t h a t o n e has s e e n e a r l i e r . A n d s t r a n g e l y i t is f r o m t h a t p u r e l y
a e s t h e t i c r e c o n c i l i a t i o n t h a t t h e real r e c o n c i l i a t i o n c a n b e f e l t .

T h e i m a g e is n o t t h e o n l y o n e a t s t a k e . It is a r t i n its e n t i r e t y w h i c h t r a n s f i g u r e s v i o l e n c e .
T h e u l t i m a t e m e t a m o r p h o s i s o f t h e f i s h h o o k i n The Bow bears witness t o t h a t . O n e can see
it t o o , i n a b u n c h , g o i n g i n t o a m o u t h , t h a t o f t h e g i r l e n t r u s t e d t o t h e o l d m a n ( a n d t h o s e
w h o ' v e s e e n The Isle c a n ' t a v o i d a n t i c i p a t i n g t h e d a m a g e ) , b u t m e r e l y in o r d e r t o stretch a
s m a l l t h r e a d w h i c h , h e l d a t its o t h e r e x t r e m i t y b y t w o f i n g e r s , b e c o m e s a l i t t l e m u s i c a l b o w .
T h e f i s h h o o k ' s n a t u r e d o e s n ' t c h a n g e , it r e m a i n s a v i o l e n t h o o k , b u t s p e c i f i c a l l y w i t h o u t
that violence it w o u l d n ' t c a t c h a n d t h e g i r l w o u l d n ' t b e a b l e t o s t r e t c h t h e s t r i n g n o r t o
produce sounds. All of Kim Ki-duk's cinema seems from that point of view a
metaphorization of the artistic gesture itself. A salvation without recovery without
reparation, without denegation. Peace is a l w a y s t e m p o r a r y and uncertain, a minute
equilibrium between exasperated beings. "Art feeds o n t h a t p e r m a n e n t t e n s i o n , " he said
a b o u t t h e d i v i d e d K o r e a . " I w o u l d r a t h e r c h o o s e p e a c e , e v e n if a r t s h o u l d d i s a p p e a r . But
h u m a n i t y has n e v e r k n o w n p e a c e , a n d w i l l p r o b a b l y n e v e r k n o w i t . T h a t is w h y o n e n e e d s
c i n e m a " . T h a t " p e r m a n e n t t e n s i o n " is t h a t o f t h e b o w : a t t h e s a m e t i m e i n s t r u m e n t o f
violence and instrument of music, inseparably N o beautiful f o r m u l a will ever be f o u n d , for
m u s i c a l w a y s b e c o m e s q u i e t a n d t u r n s t o v i o l e n c e a g a i n , a n d v i o l e n c e saves itself, e i t h e r
through music where it b e c o m e s invisible, or in t h e i m a g e w h e r e i t l i g h t s u p . To f i n d
h a r m o n y f a c i n g t h e i r r e d u c i b l e c o n f l i c t s o f h u m a n b e i n g s , all r i g h t , b u t a h a r m o n y i n t h e
musical sense, a fragile a l m o s t - n o t h i n g , like t h a t little air p l a y e d o n a b o a t in t h e m i d d l e o f
t h e i m m e n s e d e e p - s e a s i l e n c e . So t h e m o s t b e a u t i f u l w i s d o m is p e r h a p s t h a t o f t h e m o n k
i n Spring..., w h o w r i t e s o n a r o u n d p i e c e o f w o o d w i t h w a t e r - p u r i t y , par excellence - one
sees d r y i n g s t r a i g h t a w a y a n d w h o , h a v i n g r e a c h e d t h e b o t t o m o f t h e l i n e , starts a g a i n , a
p r o d u c t i o n w i t h o u t m e l a n c h o l y , without surplus, o f s a c r e d signs , a w r i t i n g d i s a p p e a r i n g l i k e
w o r d s , l i k e w a t e r , l i k e l i f e , w h i c h it p e r m a n e n t l y r e d o u b l e s a n d t r a n s f i g u r e s .

"1 w a n t t o l i v e s t r e t c h e d l i k e a b o w t i l l 1 d i e . "
 IN THE M I R R O R OF S I L EN C E

T h e r e c e n t b r e a k t h r o u g h o f K o r e a n f i l m s has g r a d u a l l y i m p o s e d t h e cinema
o f t h a t c o u n t r y as a p a r t n e r w i t h w h o m w e h a v e t o r e c k o n i n f u t u r e . T h e d i r e c t o r K i m Ki-
d u k has b e e n n o t i c e d f o r t h e e x t r e m e m o d e r n i t y o f his f i l m s w h i l e r e p r e s e n t i n g , a t t h e s a m e
t i m e , a n d i n a m o s t i n t i m a t e w a y , i m a g e s o f a t r a d i t i o n a l K o r e a . For m e , as a n e t h n o l o g i s t
a n d s p e c i a l i s t o n C h i n a , K i m K i - d u k ' s f i l m s p a i n t a p o r t r a i t o f a s o c i e t y t h a t is b o t h f a m i l i a r
a n d r e m o t e . K o r e a , as C h i n a ' s n e i g h b o u r , has b e e n its vassal f o r a l o n g t i m e , a n d i t has t h u s
i n t e g r a t e d n u m e r o u s e l e m e n t s o f C h i n e s e c u l t u r e . T h e o m n i p r e s e n c e o f m u s i c , i n C h i n a , as
in t h e w o r k o f t h e d i r e c t o r , w h e r e it e x p r e s s e s t h e f e e l i n g s o f t h e c h a r a c t e r s , i n v i t e s us t o
again q u e s t i o n universalism.

For a n e t h n o l o g i s t t h a t q u e s t i o n is f u n d a m e n t a l . I n d e e d , w e g o t o f a r a w a y t e r r a i n s t o t r y
to understand what is " o t h e r " , w h a t is " d i f f e r e n t " , p e r h a p s also "what we lack". Our
p o s t u l a t e is t h a t t h e r e is u n i t y i n t h e h u m a n w o r l d , a n d t h a t t h i s u n i t y m a k e s p o s s i b l e t h e
s t u d y o f s o c i e t i e s t h r o u g h t h e i r d i f f e r e n c e s . W h a t is t h e use o f g o i n g as f a r as K o r e a , or
China, if it is o n l y t o r e a s s u r e us o f t h e i d e a t h a t o u r v a l u e s , supposedly universal and
s u p e r i o r , a r e r e a l l y t h e best? O u r m e t h o d c o n s i s ts i n s t u d y i n g t h e s o c i a l f a c t s w h i l e leaning
o n t h e d i f f e r e n c e s b e t w e e n t h e c u l t u r e s . For if c o m m o n t r a i t s a r e f o u n d e v e r y w h e r e , each
s o c i e t y a r r a n g e s t h e e l e m e n t s i t v a l u e s i n its o w n u n i q u e way.

But w h a t a b o u t feelings a n d their expression? Are feelings truly universal? A n d does

m u s i c , w h i c h is o f t e n t h e i r f a v o u r i t e v e h i c l e , h a v e a u n i v e r s a l r e a c h ?

From music to anim als

In m o s t o f his f i l m s K i m Ki-duk m a k e s l i t t l e use of spoken words. And when the

c h a r a c t e r s d o s p e a k , i t is o f t e n as b a c k g r o u n d n o i s e , as u n i m p o r t a n t c o n v e r s a t i o n . T h e r e is
never any debate on ideas. The men d o n ' t talk, t h e y act. Often set in magnificent
landscapes, t h e m e n a n d w o m e n f a c e life a c c o r d i n g t o c i r c u m s t a n c e s and their meetings
w i t h o t h e r s . Each t i m e t h e c h a r a c t e r s , a n d p a r t i c u l a r l y t h e w o m e n , a r e m o v e d , o r a n g r y o r
t e r r i b l y s a d , i t is e x p r e s s e d t h r o u g h m u s i c , n o t w o r d s . In r e a l i t y , K i m K i - d u k ' s f i l m s i l l u s t r a t e
p e r f e c t l y t h a t d e f i n i t i o n f o u n d in a n o l d C h i n e s e classic, t h e Book of Music:

M u s i c is b o r n f r o m s o u n d s . Its s o u r c e is i n t h e r e s o n a n c e o f t h e h u m a n h e a r t p r o d u c e d
b y its m e e t i n g w i t h e x t e r n a l b e i n g s . T h u s , a sad h e a r t p r o d u c e s n e r v o u s a n d a b r u p t s o u n d s ;

97
a joyful heart produces o p e n and harmonious sounds; a happy heart produces ample
s o u n d s ; a n a n g r y h e a r t p r o d u c e s gross a n d heavy sounds; a respectful heart produces
straight a n d serious sounds; an a m o r o u s heart p r o d u c e s h a r m o n i o u s a n d s w e e t sounds.
T h o s e six e m o t i o n s a r e n o t i n t e r n a l , b u t r e s o n a t e w i t h t h e a c t i o n o f e x t e r n a l b e i n g s w h o
bring about transformations.

So e m o t i o n s are p r o d u c e d by m e e t i n g w i t h " e x t e r n a l beings". W o u l d it be human

beings, o r " o t h e r " beings: a n i m a l s , m o u n t a i n s , lakes, islands.. . w o m e n . . . Each meeting
b r i n g s its s h a r e o f s u r p r i s e s . . . a n d its s h a r e o f t e a r i n g s a p a r t a n d s a d n e s s e s. A r e a n i m a l s , f o r
e x a m p l e , d i f f e r e n t f r o m m e n ? K i m K i - d u k asks t h e q u e s t i o n s : w h a t r e l a t i o n s h i p d o h u m a n
beings have w i t h those "others"?

In s o m e s c e n e s , c r u e l t y t o w a r d s a n i m a l s s h o c k s t h e W e s t e r n s p e c t a t o r . P e r h a p s i t also
shocks Korean p e o p l e , even t h o u g h d i f f e r e n t societies have views distinct f r o m ours o n
relationships b e t w e e n people and animals.

O n e t h i n g w h i c h c a n n o t g o m i s s i n g o n f e s t i v e t a b l e s i n K o r e a as w e l l as i n o t h e r Far-
Eastern c o u n t r i e s a r e f i s h , w h i c h r e p r e s e n t f e c u n d i t y a n d a b u n d a n c e . Fish m u s t a l w a y s b e
c o n s u m e d " f r e s h " . T h e p l e a s u r e o f s u s h i is n o t t h e p r e r o g a t i v e o f t h e J a p a n e s e p e o p l e o n l y ;
f o r t h a t r e a s o n , f i s h i n g is a f a v o u r i t e h o b b y f o r K o r e a n p e o p l e , as is s h o w n s e v e r a l t i m e s i n
Kim Ki-duk's films.

In t h e C h i n e s e v i l l a g e I ' m s t u d y i n g , i t is w o m e n w h o p r e p a r e t h e f i s h . It is f i r s t h e l d still
o n t h e g r o u n d w i t h t h e left h a n d . W i t h t h e right, w h i c h holds t h e e n o r m o u s k i t c h e n knife ,
t h e w o m a n scales t h e f i s h , w h i c h is, o f c o u r s e , still a l i v e . T h e f i s h w r i t h e s , o p e n s w i d e its
m o u t h . I w o n d e r if it f e e l s t h e s a m e as w h e n t h e h a i r d r e s s e r c u t s o u r hair, o r if i t f e e l s p a i n .
T h e n s h e c u t s o p e n s t h e b e l l y a n d t a k e s o u t t h e g u t s . T h e f i s h is still a l i v e a n d f l o u n d e r i n g .
T h a t d o n e , she f i l l e t s o n e s i d e , t h e n t h e o t h e r . A t t h a t stage t h e f i s h is still n o t d e a d , i t o p e n s
its m o u t h a n d c o n t i n u e s t o m a k e w i l d m o v e m e n t s . T h e last o p e r a t i o n c o n s i s t s i n c u t t i n g
w h a t ' s l e f t i n t o b i t s . To t h e q u e s t i o n , " w h y d o n ' t y o u k i l l i t b e f o r e p r e p a r i n g i t ? " w o m e n j u s t
s m i l e , f o r t h a t r e f l e c t i o n s e e m s so s t u p i d t o t h e m . It's a l w a y s b e e n d o n e l i k e t h a t ! W h a t ' s
so s t r a n g e i n t h a t ?

The Isle p r e s e n t s t h e s a m e t y p e o f s c e n e w h e n o n e o f t h e c h a r a c t e r s w h o has j u s t c a u g h t

a f i s h , c u t s o u t a f i l l e t , t h e n eats w i t h r e l i s h his " f r e s h " s u s h i w i t h his g i r l f r i e n d , blood
d r i p p i n g f r o m t h e i r l i p s , w h i l e t h e f i s h is still f l o u n d e r i n g a t t h e i r f e e t , s o m u c h s o t h a t t h e
m a n ends u p t h r o w i n g it b a c k in t h e water. W e t h e n see t h e f i s h s w i m m i n g a w a y i n t h e
 m u r k y water, a m p u t a t e d of o n e fillet, d r i p p i n g w i t h b l o o d . . . O n e t h i n k s it c o u l d also
h a p p e n t o us, t o h a v e o n e a r m a m p u t a t e d a n d c a r r y o n l i v i n g i n t h a t s t a t e .

In Address Unknown, t h e d o g s a r e b e a t e n t o d e a t h . B e c a u s e d o g ' s m e a t is a f a v o u r i t e

d i s h i n K o r e a , it's a l s o p a r t o f t h e b a n q u e t . In K o r e a t o o , t h e d o g is " m a n ' s b e s t f r i e n d " , b u t
its m e a t is n e v e r t h e l e s s c o n s u m e d , w i t h o u t K o r e a n s s e e i n g a n y c o n t r a d i c t i o n i n t h a t . O n e
o f t h e f i l m ' s c h a r a c t e r s h o w e v e r f e e l s u n e a s y a b o u t i t a n d is r e l u c t a n t t o b e a t d o g s t o d e a t h .
P e r h a p s i t has s o m e t h i n g t o d o w i t h h i m b e i n g o f m i x e d r a c e , f o r his f a t h e r w a s a n A m e r i c a n
s o l d i e r w h o w e n t b a c k t o A m e r i c a , l e a v i n g a false a d d r e s s , so t h a t t h e l e t t e r s a d d r e s s e d t o
h i m always c o m e back w i t h the e n d o r s e m e n t "address u n k n o w n " .

D o C h i n e s e a n d Korean p e o p l e h a v e n o feelings f o r animals? O n e learns in t h e c o u r se

o f t h e f i l m t h a t i t is n o t so m u c h t h e b u t c h e r ' s p e r s o n a l c r u e l t y w h i c h is a t w o r k h e r e , as t h e
a b s e n c e o f a n y o t h e r m e a n s t o kill t h e d o g s . W h e n o n e o f t h e c h a r a c t e r s offers h i m a g u n ,
h e uses it s t r a i g h t a w a y , b u t his h a n d s a r e a g a i n t a i n t e d w i t h b l o o d a n d h e w o n d e r s if t h a t
k i l l i n g is i n r e a l i t y a n y d i f f e r e n t .

Why d o e s t h e l i t t l e b o y i n Spring, Summer, Fall, Winter... and Spring make animals

s u f f e r ? W i t h his m a s t e r o n l y f o r c o m p a n y , o n t h a t f l o a t i n g m o n a s t e r y i n a l a k e i s o l a t e d i n
t h e m o u n t a i n s , l i f e is n o t easy. H e o n l y has a n i m a l s f o r c o m p a n i o n s , a n d n o f r i e n d , no
m o t h e r , n o f a t h e r . H e is a l o n e w i t h t h e m a s t e r , w h o is b e n e v o l e n t , b u t h a r d . T h e goddess
t o o is s e v e r e , a n d d o e s n ' t p r o t e c t h e r n o v i c e f r o m his i n n e r i n c l i n a t i o n s .

From anim als to w omen

A m o n g all t h e a n i m a l s t h a t a p p e a r i n K i m K i - d u k ' s f i l m s , f i s h a r e p r e s e n t e v e r y w h e r e : in
t h e w a t e r o f t h e l a k e , o f c o u r s e , a n d i n t h e b a s i n w h i c h g a t h e r s t h e r a i n w a t e r ; it is a l s o , f o r
those w h o can recognize it, t h e " w o o d e n fish", t h e b u d d h i s t percussive instrument that
a c c o m p a n i e s all prayers. A n d fish fly in t h e w i n d , h u n g at t h e f o u r c o r n e r s o f t h e m o n a s t e r y ,
u n d e r t h e b e l l s s u s p e n d e d f r o m t h e o v e r h a n g i n g r o o f i n g . T h e p a r a d o x is t h a t o n t h e o n e
h a n d , fish are b a d l y t r e a t e d , a n d o n t h e o t h e r , t h e y are t h e o b j e c t o f a t t e n t i o n a n d l o v e : a
musical instrument which produces divine sounds; f l y i n g in the wind to bring the
m o v e m e n t s o f c l o u d s t o t h e sky; goldfish in a b o w l ; fresh a n d d e l i c i o u s flesh. T h e y are
always magnificent because of their beauty and their weakness.

In r e a l i t y , w h a t ' s t h e d i f f e r e n c e b e t w e e n t h e f i s h , m a r t y r s i n The Isle, or the animals

tortured i n Spnng, Summer, Fall, Winter... and Spnng, and women? All are weak.

100
defenceless, i n c a p a b l e o f r e b e l l i n g against horror. A l l are d o m i n a t e d . A l l have suffered o r
s u f f e r c r u e l t i e s , w h i c h t h e s p e c t a t o r d o e s n ' t a l w a y s h o l d t h e keys t o : t h e g i r l i n Address
Unknown o r The Bow, the young woman i n Coast Guard, the woman i n The Isle, the
H u n g a r i a n w o m a n b e a t e n u p i n Wild Animals, t h e y o u n g w o m a n i n 3- iron, t h e prostitute
i n Bad Guy. N e x t t o t h o s e w o m e n t h e r e is o f t e n a m a n , a l s o w o u n d e d , b u t w h o r e b e l s ,
w i t h o u t h o w e v e r h a v i n g a l w a y s s u c c e e d e d i n f r e e i n g h i m s e l f . T h a t c h a r a c t e r is, o r b e c o m e s ,
a n o p p r e s s o r , l i k e t h e p i m p i n Bad Guy, o r t h e s o l d i e r i n Coast Guard. In r e a l i t y , c r u e l t y
t o w a r d s a n i m a l s is p r e c i s e l y t h e s a m e as t h a t i n f l i c t e d o n h u m a n b e i n g s . T h u s i t is n o t t h a t
Korean p e o p l e a r e less s e n s i t i v e t o a n i m a l s t h a n W e s t e r n e r s , i t is r a t h e r t h a t f o r K o r e a n
people, animals and human beings belong t o t h e same order o f living beings, a n d
consequently receive identical t r e a t m e n t . T h e o n l y m e a n i n g f u l differences lie in t h e fact
t h a t h u m a n beings suffer, o n t o p o f physical c r u e l t i e s , p s y c h o l o g i c a l t o r t u r e s , a n d t h a t t h e y
possess - t o s o m e e x t e n t - t h e p o s s i b i l i t y f o r r e v o l t .

B e i n g s a l l b e l o n g t o t h e s a m e o r d e r o f t h e l i v i n g . B u t t h e d e s t i n y o f t h e w e a k is t o b e
o p p r e s s e d . W o m e n w h o , par ex cellence, represent "the o t h e r " f o rt h e m a n , often appear
t o b e o p p r e s s e d i n K i m K i - d u k ' s f i l m s . Is i t f o r t h a t r e a s o n t h a t f e m a l e c h a r a c t e r s a f f e c t t h e
spectator m u c h m o r e t h a n m a l e characters? In contrast t o m a l e v i o l e n c e , f e m a l e weakness
is a l w a y s l i n k e d t o b e a u t y p h y s i c a l as w e l l as s p i r i t u a l , a n d i t i n v i t e s c o m p a s s i o n .

T h e W e s t e r n spectator w o n d e r s w h y those w o m e n d o n ' t try t o f i n d ways t o leave t h e i r

h e l l . B u t e s c a p e is f u t i l e , f o r w h e n t h e y t r y t o l e a v e , t h e y a r e a l w a y s r e c a p t u r e d , as i n Bad
Guy o r 3- iron. Moreover, by living w i t h a n d thus accepting t h e violence o f their male
partner, t h o s e w o m e n s l o w l y t r a n s f o r m t h e m i s f o r t u n e , m i n i m i z i n g it o r m a k i n g it " a little
less" h o r r i b l e . For e x a m p l e , t h e p h y s i c a l l y a b u s e d w o m a n i n 3- iron d o e s n ' t see w h y s h e
s h o u l d l e a v e h e r h u s b a n d , e s p e c i a l l y w h e n h e b e a t s h e r less, a n d w h e n h e r l o v e r is p r e s e n t
at h e r side. In t h e i r w a y , K i m Ki-duk's f e m a l e characters are representations o f t h e
c o m p a s s i o n a t e B u d d h a , w h o a p p e a r s i n Spring, Summer, Fall, Winter... and Spring.

from w om en to m ale violence

B e y o n d t h e stories t o l d in each film, t h e spectator doesn't k n o w t h e origin o f t h e

c a l a m i t y o r t h e c r u e l t y . F o r K i m K i - d u k , i t s e e m s t h a t m a n ' s n a t u r e is c a u g h t i n t h e t u r m o i l .
H o w e v e r , s o c i e t y is n o t v e r y p r e s e n t . O b v i o u s l y , Coast Guard d e n o u n c e s military absurdity,
Address Unknown that of t h e presence of the A m e r i c a n a r m y o n South Korean soil, Bad
Guy questions p r o s t i t u t i o n , Spnng, Summer, Fall, Winter... and Spring, solitude and
r e l i g i o n , e t c . T h u s , e a c h t i m e , i t is a p e r s o n a l p o i n t o f v i e w t h a t t h e d i r e c t o r p r o p o s e s , a n d
n o t a c o l l e c t i v e r e p r e s e n t a t i o n . If w o m e n f a l l i n t o p r o s t i t u t i o n , it's b e c a u s e t h e y a r e w e a k .
If t h e l i t t l e b o y t o r m e n t s a n i m a l s , it's b e c a u s e h e is so l o n e l y t h a t h e is n o t e v e n a w a r e o f
his c r u e l t y If t h e s o l d i e r b e c o m e s m a d , i t is b e c a u s e h e is c a u g h t u p i n his o b s e s s i o n s . But
b e y o n d the personal circumstances of each of the characters, w h e r e does that incapacity to
react c o m e f r o m , that i n s u r m o u n t a b l e weakness, recurrent f r o m film t o film? T h e spectator
is r e d u c e d t o s u p p o s i t i o n s , f o r t h e g r e a t a r t i s t K i m K i - d u k d o e s n ' t i m p o s e his o w n answers.
By s e e i n g all o f his f i l m s , w h i c h stage p a r a d o x i c a l a n d c o n t r a d i c t o r y s i t u a t i o n s , t h e m o s t
p e r f e c t e d p r o b a b l y b e i n g t h e l o v e t h a t t h e p r o s t i t u t e has f o r h e r p i m p i n Bad Guy, one ends
u p w o n d e r i n g if, s o m e w h e r e , that weakness d o e s n ' t reveal an essential drama, never
n a m e d , o r e l se j u s t l i g h t l y t o u c h e d u p o n : t h a t m i s s i n g N o r t h K o r e a ?

As s o o n as o n e a c c e p t s t h a t i n t e r p r e t a t i o n , o n e r e a l i z e s t h a t t h e m i s s i n g w e ' r e t a l k i n g
a b o u t is t y p i c a l l y K o r e a n . H o w e v e r , t h e c h a r a c t e r s ' f e e l i n g s s p e a k t o t h e W e s t e r n s p e c t a t o r ,
cross t h e b a r r i e r o f c u l t u r e b y t e l l i n g us e s s e n t i a l t h i n g s w h i c h r e s o n a t e p e r h a p s w i t h t h e
d e e p structures o f o u r h u m a n i t y

Hence, t h e r e m a r k a b l e use o f m u s i c i n K i m K i - d u k ' s f i l m s . In 3- iron few words are

s p o k e n u n t i l t h e f i n a l " I l o v e y o u " . B u t o n e d o e s n ' t g e t b o r e d , a n d t h e m u s i c is e n o u g h t o
make the spectator understand the characters' f e e l i n g s . It is a " m o d e r n " music, thus
accessible t o s p e c t a t o r s . It is n o t t r a d i t i o n a l K o r e a n o p e r a , w h i c h w o u l d grate o n our
Western ears. A n d if t h e r e is a t r a d i t i o n a l K o r e a n m u s i c , as, f o r e x a m p l e , t h e t w o - s t r i n g
f i d d l e s u p p o s e d t o b e p l a y e d w i t h t h e b o w i n t h e f i l m w i t h t h e s a m e n a m e , t h e n i t is
a r r a n g e d in a w a y t h a t m a k es it s e e m b o t h strange a n d e x o t i c , b o t h close a n d a u d i b l e .
P e r h a p s u n i v e r s a l i t y also c o m e s f r o m t h a t , t h o s e b e a u t i f u l s o n o r i t i e s , t h o u g h e v e r so s l i g h t l y
K o r e a n . W h a t is K o r e a n , o r w h a t is p a r t i c u l a r t o K i m K i - d u k , is t h a t use o f m u s i c a n d t h e
a b o l i t i o n o f s p o k e n w o r d s , as if t h o s e w o r d s w e r e o n l y b e a r e r s o f lies. O n l y m u s i c is t r u e
s i n c e i t a l w a y s e x p r e s s e s t h e t r u t h o f t h e c h a r a c t e r s ' f e e l i n g s , as r e l a t e d i n t h e e x t r a c t o f t h e
Book of Music quoted above. That truth is u n d o u b t e d l y u n i v e r s a l , b u t t h e w a y it is
e x p r e s s e d i n K i m K i - d u k ' s f i l m s is s p e c i f i c a l l y K o r e a n .

The bow presents us w i t h a n extraordinary music f o r i t is a c c o m p l i s h e d with a

w e a p o n , t h u s p r o d u c i n g h a r m o n y a n d v i o l e n c e a t t h e s a m e t i m e . In a n c i e n t Far E a s t e r n
c i v i l i s a t i o n , a r c h e r y w a s p a r t o f y o u n g m e n ' s c o m p l e t e t r a i n i n g . In r e a l i t y t h a t p r a c t i s e

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 necessitates qualities of self-distanciation a n d i n n e r c a l m w h i l e b e i n g intensely f o c u s e d
o n t h e t a r g e t . T h a t p r a c t i s e is still c a r r i e d o u t t o d a y i n K o r e a , as i t a p p e a r s in Address
Unknown a n d The Bow. In t h e l a t t e r , t h e b o w is a l s o t h e i n s t r u m e n t o f d i v i n a t i o n . S o u t h
K o r e a is t o d a y o n e o f t h e c o u n t r i e s c o n s i d e r e d as d e v e l o p e d , b u t i t ' s s h a m a n i c p a s t is s t i ll
v e r y m u c h p r e s e n t . K o r e a n p e o p l e still s e e k t h e a d v i c e o f s h a m a n d i v i n e r s t o g u i d e t h e m
o n t h e p a t h o f life. Each t i m e t h e o l d m a n shoots at t h e girl - t h e a i m b e i n g t o miss her
a n d n o t t o t o u c h h e r - t h e t e n s i o n is i m m e n s e : it's a g o d w h o is m a n i f e s t e d . T h e violence
of s h o o t i n g brings f o r w a r d d i v i n e w o r d s a n d t h e music p r o d u c e d by t h e b o w transforms t h e
v i o l e n c e i n t o g e n t l e n e s s . B e w a r e , h o w e v e r : t h e b o w r e m a i n s a w e a p o n . T h e g i r l uses i t t o
s h o o t a t h e r aggressors. T h e o l d m a n uses i t t o d e f l o w e r t h e g i r l .

The pow er of the individual

T h e t r e a t m e n t of music a n d t h e absence of s p o k e n w o r d s are e q u a l l y in k e e p i n g w i t h t h e

s i m p l e a n d s p a r e f r a m e w o r k o f p e r f e c t i o n a l w a y s s o u g h t b y K i m K i - d u k . It's i n k e e p i n g t o o
w i t h t h e s y s t e m o f t h e Far-Eastern w a y o f t h i n k i n g r e l a t i v e t o m a r t i a l arts t h a t K i m K i - d u k
e x p l o r e s s e v e r a l t i m e s i n his f i l m s . T h e p e r f e c t i o n o f t h e b o d i l y g e s t u r e b r i n g s p o w e r , t h a t ' s
t h e r e a s o n w h y t h e m a n w h o r e b e l s , o r t h e m a n w h o w a n t s a w a y o u t , m u s t first o f all b e i n
c o n t r o l o f h i m s e l f . T h a t is h o w t h e y o u n g m a n i n 3- iron, i n t h e n a k e d c e l l o f his p r i s o n ,
practices assiduously a k i n d of Kung-fu thanks t o w h i c h he succeeds in m a k i n g himself
i n v i s i b l e . H e s l o w l y c o n t r o l s h i m s e l f , b e f o r e c o n t r o l l i n g his w a r d e n . B u t t h e lesson is h a r s h ,
a n d h e starts b y l o s i n g . B u t w i t h e a c h f i g h t , h e l e a r n s s o m e t h i n g . P a r a d o x i c a l l y i t is t h e c r u e l
w a r d e n w h o is his m a s t e r : i n t h e s e c o n d f i g h t , t h e y o u n g m a n is b e t r a y e d b y his s h a d o w ,
w h i c h a l l o w s t h e w a r d e n t o d i s c o v e r h i m , t h o u g h h e is h i d i n g b e h i n d h i m . F i n a l l y o u t o f
p r i s o n , t h e y o u n g m a n b e g i n s s u c c e s s f u l l y t o p u t t h e lesson i n t o p r a c t i s e a n d settles w i t h t h e
w o m a n h e l o v e s , u n d e r t h e n o s e o f t h e c u c k o l d e d h u s b a n d : h e has b e c o m e i n v i s i b l e f o r t h e
h u s b a n d , b u t remains visible for t h e w o m a n w h o can t h e n tell h i m : "I love y o u " .

C o n t r o l l i n g o t h e r s starts b y t h e perfec t c o n t r o l o f oneself. There is i n t h a t , i n an

u n d e r l y i n g w a y , a n e x t r a o r d i n a r y f a i t h i n h u m a n p o w e r . In t h e Far-Eastern w a y o f t h i n k i n g ,
man is c a p a b l e of reaching and achieving a strength that Western people d o n ' t even
s u s p e c t . T h e y o u n g K o r e a n m a n b e c o m e s a w a r e o f t h e e x t r e m e p o w e r o f his b e i n g , t h a n k s
t o t h e c o n t r o l o f his b o d y a n d his m i n d . S i m i l a r t o t h e J a p a n e s e S a m o u r a i o r t h e C h i n e s e

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Kung-fu a d h e r e n t , he trusts himself. H o w e v e r , n o t used deliberately, t h e p o w e r o b t a i n e d b y
t o t a l s e l f - c o n t r o l , w o u l d it b e i n m a r t i a l a r t , g o l f p r a c t i s e o r a r c h e r y , d o e s n ' t b r i n g w h a t has
b e e n s o u g h t : t h e o l d m a n in The Bow w i l l o n l y possess t h e girl i n a s y m b o l i c w a y , t h r o u g h
t h e a r r o w h e s h o o t s a n d w h i c h falls b e t w e e n h e r legs. In 3- iron the young man and the
b e t r a y e d h u s b a n d w i l l f i g h t w i t h o u t r e s o l v i n g t h e q u e s t i o n o f p o s s e s s i o n o f t h e w o m a n . It is
o n l y w h e n t h e y o u n g m a n has c o n t r o l o v e r his i m p u l s e s t h a t h e w i l l w i n his b a t t l e a g a i n s t
t h e v i o l e n t s p o u s e . K i m K i - d u k ' s f i l m s p a i n t t h a t Far-Eastern i n d i v i d u a l i s m w h i c h is t o b e
f o u n d n o t i n t h e c o n c e p t i o n o f t h e i n d i v i d u a l as a u t o n o m o u s a n d i n d e p e n d e n t , b u t i n t h a t
faith in t h e p o w e r o f t h e h u m a n b e i n g , c a p a b l e of c o n t r o l l i n g t h e w o r l d .

T h o u g h K i m Ki-duk's early films are dark, t h e y b e c o m e increasingly m o r e optimistic.

W i l l t h e n e w l i t t l e b o y in Spring, Summer, Fail, Winter... and Spring w h o tortures a tortoise
h a v e t h e s a m e d e s t i n y as his m a s t e r ? T h a t is n o t s u r e , f o r p e r h a p s t h i s t i m e , t h e g o d d e s s ,
n o w p l a c e d a t t h e v e r y t o p o f t h e m o u n t a i n , w i l l b e m o r e v i g i l a n t . In The Bow t h e girl
e s c a p e s a n d l e a v e s w i t h h e r b o y f r i e n d , a n d t h e a b u s e d w o m a n i n 3- iron keeps her lover at
her side.

K i m K i - d u k t a l k s t o us a b o u t t h e w e a k n e s s a n d t h e p o w e r o f h u m a n f e e l i n g s , w h e t h e r
t h o s e o f m e n o r w o m e n . B u t w h y h a v e h u m a n b e i n g s so m u c h d i f f i c u l t y e x p r e s s i n g t h e i r
feelings? B e y o n d t h e personalities o f t h e characters, it c o n c e r n s Far-Eastern c i v i l i z a t i o n ,
w h e r e t h e h u m a n b e i n g is p r i m a r i l y p e r c e i v e d as a c o l l e c t i v e b e i n g , m e a n i n g i n w h i c h
i n d i v i d u a l f e e l i n g s m u s t n o t i n t e r f e r e w i t h status a n d s o c i a l r o l e . T h a t is t h e r e a s o n why
m u s i c o n l y is a b l e t o say w h a t t h e c h a r a c t e r s c a n n o t a r t i c u l a t e o r v e r b a l i z e . T h a t r e m a r k a b l e
use o f m u s i c is t h u s , f o r K i m K i - d u k , a w a y t o d e n u n c i a t e t h e i n t r a n s i g e n c e s i m p o s e d b y t h e
Far-Eastern c o n c e p t u a l w a y o f t h i n k i n g t o t h e p e o p l e w h o w i s h t o e x p r e s s t h e i r f e e l i n g s .

Because t h e situations p r e s e n t e d are e x t r e m e , in a p o s i t i v e o r negative sense, they

d i s t r e s s a n d u p s e t us. T h e y m a k e us r e f l e c t o n l i f e a n d g i v e us t h e m e a n s o f r e f l e c t i o n t o
t r e a t o u r o w n ills. T h a t is w h a t a K o r e a n d i r e c t o r , f o r h e is K o r e a n , o f f e r s us as a p r e s e n t . In
r e a l i t y t h e q u e s t i o n o f u n i v e r s a l i s m is a false p r o b l e m : r a t h e r t h a n a t r a n s p a r e n c e o r a n
e q u a l i t y o f m e n a m o n g s t themselves, isn't it t h e richness t h a t t h a t " o t h e r " w a y o f l o o k i n g
b r i n g s t o t h e W e s t e r n s p e c t a t o r t h a t is i m p o r t a n t i n t h e e n d ?

It's necessar y t o see K i m K i - d u k ' s f i l m s f o r w h a t h e tells us a b o u t K o r e a . W h a t w e d i s c o v e r

then b r i n g s us s o m e t h i n g n e w and u n k n o w n . T h a t " s o m e t h i n g " is in k e e p i n g w i t h t h e
f r a m e w o r k o f C h i n e s e c i v i l i z a t i o n r u l e d b y t h e s y s t e m o f yin a n d yang. That symbol, the
emblem of the South Korean flag, w h i c h also a p p e a r s o n t h e b o a t in Ttie Bow, is t h e
u n d e r l y i n g s t r u c t u r e o f all his f i l m s . T h a t d u a l i t y is e x p r e s s e d i n t h e c o n t r a s t b e t w e e n w e a k n e s s
and power, cruelty and kindness, violence and tenderness, the relationship most often b i n d i n g
a m a n a n d a w o m a n . T h a t v i e w p o i n t s h o w s us t h a t t h o s e o p p o s i t e s i t u a t i o n s a r e connected
a n d t h a t t h e y e c h o each other. T h a t w a y of t h i n k i n g w h i c h takes i n t o a c c o u n t t h e o p p o s i t i o n s
a n d c o n t r a d i c t i o n s i n h e r e n t t o h u m a n life is r a t h e r d i f f e r e n t f r o m o u r e x c l u s i v e v i s i o n .

In t h a t , K i m K i - d u k ' s f i l m s a r e t y p i c a l l y K o r e a n . B e y o n d t h e c h a r a c t e r s a n d t h e i r p a i n , i t
is t h a t m i s s i n g o t h e r , m e a n i n g t h e p a i n o f t h e p a r t i t i o n o f K o r e a , w h i c h is e x p r e s s e d i n his
f i l m s . P e r h a p s w e c a n l i n k t h e o p t i m i s m o f his r e c e n t f i l m s t o t h e r e s u m p t i o n o f d i a l o g u e
b e t w e e n t h e t w o K o r e a s , as m i n i m a l as it still is t o d a y .
 P L A C K AN P W H I T E A RE THE S A M E CO LO R

This interview* by e-mail has been made with a series of questions sent to Kim Ki-duk on the 5th September 2005.
Kim Ki-duk's answers are dated the 6th September 2005.
'Translated into French from Korean by Young- Sook Kim

What are your sources of inspiration for the despair and t o r m e n t e d conscience. Those w h o
themes you tacl< le in your films: the street, the fail o n t h e m o r a l level are h u m i l i a t e d , p e o p l e
media, your own experiences? t u r n a w a y f r o m t h e m . T h a t is t h e m e t h o d o f

I've h a d v a r i o u s e x p e r i e n c e s . In K o r e a , f o r c i v i l i z e d society.

f a m i l y reasons, I c o u l d n ' t c a r r y o n s t u d y i n g l i k e Inner disposition, u p b r i n g i n g and society

e v e r y o n e else. As s o o n as I w a s 1 6 I w o r k e d i n a c o n t r i b u t e t o b u i l d t h e p e r s o n a l i t y . B u t , as

f a c t o r y f o r 6 years. T h e n I e n r o l l e d i n t h e t h o s e e l e m e n t s d i v e r g e , it is v e r y d i f f i c u l t t o

Marines. c o n f o r m t o an established order. M y films talk

a b o u t those conflicts. But rather t h a n give great
In t h e f a c t o r y I h a n d l e d m a n y m a c h i n e s and
i m p o r t a n c e t o m o r a l s , I'm t r y i n g t o g e t t o
l e a r n e d a l o t a b o u t t h e i r f u n c t i o n i n g w h i c h is, I
k n o w h u m a n n a t u r e in d e p t h .
t h i n k , q u i t e s i m i l a r t o t h a t o f h u m a n life in t h e
In m y o p i n i o n , all t h e a n s w e r s a r e t o b e f o u n d
sense t h a t t h e m a c h i n e uses o p p o s i t e f o r c e s ,
i n n a t u r e . In w a t e r . In a t r e e . Even i n a s t o n e . I
playing o n their balance t o create a p r o d u c t .
a m not a Buddhist and I haven't studied
M y v a r i o u s e x p e r i e n c e s , life i n t h e M a r i n e s ,
Buddhism.
r e l i g i o u s s t u d i e s a n d m y e x p e r i e n c e as a p a i n t e r
have b r o u g h t m e t h e f u n d a m e n t a l images of m y Spnng, Summer... f o r e x a m p l e , is n o t a f i l m

c i n e m a t i c practice. Like t h e w o r l d , at t h e s a m e o n B u d d h i s m b u t a film o n t h e t i m e lived by

t i m e very simple and very c o m p l e x, everything t h e m a n , a story o n t h e tree, a story o n t h e

can appear different or identical d e p e n d i n g o n water, a story o n nature.

o u r p e r c e p t i o n . For e x a m p l e , r e l i g i o n , T h a t f i l m tells us t h a t m a n b e l o n g s t o n a t u r e t o o .

m a t h e m a t i c s , science a n d p h i l o s o p h y are f o r m e
What meaning do you give to the fish, a
o n e a n d t h e s a m e t h i n g . M a t h e m a t i c s are exact,
recurrent figure in your films?
s c i e n c e is f u l l o f h a z a r d s , p h i l o s o p h y is
a m b i g u o u s a n d r e l i g i o n m y s t e r i o u s . B u t it all has In m y f i l m s , v a r i o u s l i v i n g b e i n g s , m a n and

t h e s a m e m e a n i n g . A n d t h a t is also v a l i d f o r m y nature, are t r e a t ed o n t h e sam e level. All those

f i l m s . For m e , b l a c k a n d w h i t e a r e t h e s a m e living beings express t h e character a n d a c t i o n

c o l o u r , f a c i n g e a c h o t h e r . T h e w o r l d is b o r n a n d of m a n .

d i e s i n t h e i r c o n f l i c t . So w e m u s t live i n b a l a n c e We k e e p in m i n d t o o m a n y images already

b e t w e e n t h e b l a c k a n d w h i t e w h i c h a r e i n us. seen e l s e w h e r e , in m u s i c, p a i n t i n g a n d films,

T h a t is w h a t I t r y t o e x p r e s s in m y c i n e m a . I and w e look through t h e m too m u c h . I am not

d o n ' t s p e a k as a p h i l o s o p h e r o r t h e o l o g i a n , b u t interested in t h a t .

f r o m w h a t I d r a w f r o m m y e x p e r i e n c e o f life . In m y f i l m s , l i v i n g b e i n g s , n a t u r a l landscapes
a n d o b j e c t s a r e all as i m p o r t a n t as t h e a c t o r s .
What role do morals play in your reflection on
our "civilized" societies? What relationships or functions do places have
in the structure of your narratives?
In K o r e a , w e a r e t a u g h t m o r a l s f r o m
c h i l d h o o d . T h a t p r o v o k e s a lot of p r o b l e m s in I artificially create c i n e m a t o g r a p h i c places t o
adolescence. In c a s e o f m o r a l f a i l u r e , i t is situate characters in t h e m a n d tell a story of

113
 m y c h o i c e . W h a t I w a n t t o s h o w is t h a t s u c h a r e w r i t i n g , I m o d i f y it g r a d u a l l y t o m o v e it
story can h a p p e n in any place b u t t h a t , t o w a r d s a b s t r a c t i o n . W h e n t h e f e e l is r i g h t , I
w h e r e v e r i t h a p p e n s , o u r l i f e has its f i l l o f a l s o r e d u c e t h e d i a l o g u e s . It's a b i t l i k e m a k i n g
difficulties. first a realistic s c u l p t u r e of a h u m a n b e i n g ,

So, I s h o o t i n a c e r t a i n p l a c e a n d t r y t o s h o w t h e n f i n a l l y r e w o r k i n g it b y c u t t i n g i t i n t o

life inside t h a t f r a m e w o r k . f a c e t s . D u r i n g t h o s e stages a s t o r y a n d images

m e r g e t o g e t h e r . In t h e e n d I o b t a i n a " s e m i -
What relationships do the places have with the
abstract" film.
characters?

"Semi- abstract", what does that mean? Does it

M y characters d o n ' t represent individual
depend on other strategies of representation?
p e o p l e b u t s e v e r a l a s p e c t s w h i c h a r e in us. So
a c h a r a c t e r i n m y f i l m is a t t h e s a m e t i m e "Semi-abstract" means the junction between

n o b o d y a n d all o f us. I e v e n t h i n k t h a t t h e y a r e r e a l i t y a n d t h e i m a g i n a r y . E v e n t h o u g h r e a l i t y is

at t h e s a m e t i m e b o t h p e o p l e w h o a p p r o v e of h a r d t o l i v e , w e c a n p e r c e i v e i t d i f f e r e n t l y It's

m y film and people w h o disapprove. like t h e "semi-abstract " in s c u l p t u r e . 3- iron

i l l u s t r a t e s t h a t v e r y w e l l . If b l a c k represents
What are your criteria for choosing to shoot in
r e a l i t y , w h i t e r e p r e s e n t s t h e i m a g i n a r y . In a
a studio or in natural settings?
w o r d , it's t h e s a m e t h i n g .

I a l m o s t never s h o o t in a s t u d i o . I m i g h t s h o o t ,
For your research in narratives, do you draw
f o r e x a m p l e , in a very t i n y house a n d I can
from other cinemas?
thus e m p l o y very little material fo r t h e s h o o t i n g
a n d the lighting because o f t h e smallness o f t h e I f i n d ideas for m y films n o t in f i l m s b u t in
place. I l o o k for places w h i c h c o r r e s p o n d best social n e w s items. W e s t e r n c i n e m a critics
t o t h e s c e n a r i o t o s h o o t t h e f i l m i n its e n t i r e t y . notice t h e influence of great Western directors
However, I t h i n k o n e can always change o n Asian d i r e c t o r s , b u t that's n o t m y case. I
places. Like h u m a n beings can live anywhere often w a t c h p e o p l e , that helps m e a lot t o f i n d
in t h e w o r l d , I d o n ' t give t o o m u c h importance c i n e m a t o g r a p h i c ideas. I d o n ' t have ideas f i x e d
to a particular place. in a d v a n c e . I c o m e across an i d e a f o r a f i l m b y
c h a n c e , w h e n o b s e r v i n g p e o p l e , society,
What does the script stage represent in your n a t u r e . A n d I c r e a t e a story. I d o appreciate
cinematographic work?
the w o r k s of other people, w h e t h e r a b o o k or

I first w r i t e t h e m o s t realistic scrip t possible. I a f i l m , b u t c o p y i n g t h e m doesn't interest m e . I

also w r i t e t h e d i a l o g u e s . A t t h e m o m e n t o f w a n t t o express myself w i t h m y o w n energy.

114
 Can we say that your work as a film director is The main male characters in your films give
based on an aesthetics of cruelty? the impression of existing only in excess and
chaos. In what can that inner conflict between
In m y o p i n i o n , i t is n o t m y f i l m s w h i c h are
reason and the tangible serve as a motor for
cruel, b u t c o n t e m p o r a r y life. The n e w s o n existing?
CNN is m u c h m o r e s h o c k i n g a n d c r u e l t h a n
As a h u m a n b e i n g 1 w a n t e d t o h a v e v a r i o u s
m y films.
experience. We live t h e i n f i n i t e r e p e t i t i o n of

D o you think about the actors already when n i g h t s a n d d a y s . O u r life o s c i l l a t e s b e t w e e n

writing the scnpt? plus and minus. W e live in t h e c o n f r o n t a t i o n of
opposites. In m y o p i n i o n , t h e i d e a l w o u l d be
No.
to alternate between that "plus" and that

What is the influence of the actor's personality " m i n u s " . 1 believe the characters in m y films
on your films? possess t h a t e n e r g y .

W h a t e v e r a c t o r is f o u n d i n m y f i l m , t h a t ' s the Women also have an important place, not

destiny o f m y f i l m . I d o n ' t sack an actor only through their presence as characters, but
b e c a u s e he/she p l a y s b a d l y I f i n i s h t h e shoot through your art references: Egon Schiele,

with them, whatever happens. Camille Claudel... Contrary to some criticisms

that have been made about you, couldn't we
Does the use of recurrent characters with say that your cinema ties in with feminist
changing identities and interpersonal cinema?

relationships between characters form as many

I m a k e films o n t h e p r i n c i p l e w h i c h rules
autobiographical facets for you?
h u m a n i t y a n d n a t u r e . B u t I d o n ' t t h i n k all
T h e y a r e all t h e p e o p l e I've met and who've critics realize t h a t or u n d e r s t a n d that. T h a n k s
touched me. t o w o m e n I live w i t h 5 0 % m o r e energy. T h e y
a r e h a l f o f m y l i f e . If w o m e n r e p r e s e n t w h i t e , I
The relationship to the body occupies a very
r e p r e s e n t b l a c k , b u t i t is t h e s a m e c o l o u r of
important place in your work... For lack of
h u m a n being. Despite that, I think that w o m e n
dialogues, do you try to describe the
are m o r e m y s t e r i o u s t h a n men.
movements, like choreographers do?

M e n ' s actions, physiological f u n c t i o n s , a r e all D o you go on looking for locations during the
writing of the scnpt?
e x p r e s s i o n s . I t h i n k t h a t act s are m o r e r e l i a b l e

than spoken words. Yes.

116
Is the script finished when you start shooting? is c e r t a i n is t h a t m y f i l m s a r e t h e continuation
o f m y w o r k as a p a i n t e r .
I s h o o t w h i l e m o d i f y i n g it.

Is the silence that characterizes your characters

D o you film in the order of the scnpt?
a survival of the silence of the painting?
I t r y t o d o so.
I d o n ' t k n o w . It s e e m s t o m e t h a t as I g r o w

What improvisational role is left to the camera, older, I understand that spoken w o r d s don't

to the actors? have m u c h importance.

I allow the actors t o d o w h a t they w a n t d u r i n g When you returned to Korea after your stay in
s h o o t i n g . W h e n I e d i t , I r e - t h i n k t o see if I Europe, what was the meeting - or the
k e e p it. occasion - at the origin of those new
experiences which made you abandon
How do you choose the actors? painting to write your first scnpts?

I w o r k w i t h b e g i n n e r s as m u c h as p o s s i b l e . The 1 f e l t like d o i n g s o m e t h i n g else. B e f o r e I d i e , I

a u d i e n c e has p r e c o n c e i v e d i d e a s w i t h w e l l - w a n t t o d o lots o f t h i n g s . I w a n t t o t r y t o m a k e
known actors. sculpture too.

D o you do the casting yourself? You came back to Korea in 1994. In 1993, a
new president had just been elected. Did that
It is d o n e b y t h e a s s i s t a n t d i r e c t o r b u t I m a k e
political change have an influence on your
the final decisions.
decision to return to Korea?

The titles of your films are very laconic. A bit N o . I was n o t i n t e r e s t ed in politics. I love
like titles of paintings. How do you choose Korea. I especially love nature in Korea.
them?
(...) I a m a director w h o makes films. I don't

I decide, according to the feeling. I try to l i k e t o t a l k a n d I've r e s p o n d e d t h e b e s t I c a n t o

c h o o s e a K o r e a n t i t l e if p o s s i b l e . the questions in this interview. M y answer to

all q u e s t i o n s is t h i s , a n d t h i s a l o n e : " B l a c k a n d
In W i l d A n i m a l s , during an argument with a
w h i t e are t h e s a m e c o l o u r . "
painter on questions of aesthetics, the
character played by Cho Jae- Hyun adds blood
to the painter's canvas. Is it a metaphor for
your passage from painting to cinema?

It's p o s s i b l e , b u t I d o n ' t k n o w a n y m o r e . W h a t
 P R EA K ON TH RO U & H

/ found an island in your arms

Country in your eyes
Arms that chain us
Eyes that lie

Break on through to the other side

(Br e ak o n t h r o u g h - T h e D o o r s)

At t h e b e g i n n i n g o f Bad Guy, a girl is c h a t t i n g w i t h h e r b o y f r i e n d . She smiles,

shifts f r o m o n e f o o t t o t h e o t h e r , t o u c h e s his c h e e k w i t h h e r h a n d , m a k i n g h i m s m i l e . He
has a n e a t f r i n g e a n d t h e d o e - e y e s o f t h e p e r f e c t s t u d e n t . T h e y a r e t h e sign o f a g o o d m a t c h
for t h e f u t u r e . Suddenly , a l o u t a p p e a r s w i t h h u n g r y w o l f eyes. H e grabs t h e t e e n a g e girl,
f o r c e s h e r t o t u r n a r o u n d a n d v i o l e n t l y presses his m o u t h a g a i n s t h e r s . It's n o t a kiss, it's a
b i t e . She struggles, t h e d a s h i n g b o y f r i e n d tries t o s e p a r a t e t h e m , hits t h e i n t r u d e r w i t h a
metal trash c a n . N o t h i n g w o r k s . T h e man is g l u e d t o t h e g i r l , p l a n t e d o n her. Soldiers
i n t e r v e n e a n d b e a t h i m u p . T h e girl, d i s g u s t e d , spits in her attacker's face. N o t h i n g w i l l p a r t
them now.

T h e i d e a o f s u d d e n a p p e a r a n c e is a f a m i l i a r p a t t e r n i n K i m K i - d u k ' s c i n e m a , though
those brutal beginnings m o r e generally a c t as t h e s i g n a t u r e o f t h e N i n e t i e s generation.
S e v e r a l f i l m s f r o m t h a t p e r i o d s t a r t w i t h t h a t t y p e o f e x p l o s i o n . T h o s e o p e n i n g s , l i k e blasts
o f air, c o r r e s p o n d t o t h e s u d d e n arrival at t h e f o r e f r o n t of t h e y o u n g bucks of Korean
c i n e m a . T he second half of t h e Nineties was u n d o u b t e d l y t h e most intense p e r i o d Korean
cinema has ever known. Kim Ki-duk started in 1 9 9 6 , at t h e age of thirty-four, w i t h
Crocodile. T h a t s a m e y e a r . H o n g S a n g - s o o also s h o t his f i r s t f i l m . The Day a Pig Fell Into the
Well, a n d L e e C h a n g - d o n g w a s p r e p a r i n g Green Fish, w h i c h w a s m a d e i n 1 9 9 7 . In 1 9 9 8 ,
K i m J i - w o o n ' s The Quiet Family c a m e o u t , as w e l l as I m S a n g - s o o ' s Gids' night out. With
no particular specialized training, they would all become active and important film
directors^ T h e reconstructio n of Korean c i n e m a f o l l o w e d t h e process of d e m o c r a t i z a t i o n .
Dictatorship officially e n d e d in 1 9 9 3 w i t h t h e e l e c t i o n o f K i m Young-sam. After twenty
years o f a severe militar y r e g i m e , t h e o l d studios w e r e rusted. T h e o l d g e n e r a t i o n o f f i l m
d i r e c t o r s h a d s h a p e d t h e i r assistants t o b e l i k e t h e m , i n c a p a b l e t h u s o f r e s p o n d i n g t o t h e
desires o f a y o u n g a u d i e n c e w h o m t h e y d i d n ' t u n d e r s t a n d . T h e n e w p r o d u c e r s w e r e o p e n
t o fresh personalities c o m i n g f r o m diverse h o r i z o n s . I m Sang-soo h a d s t u d i e d sociology, Lee
C h a n g - d o n g was a w r i t e r , K i m Ji-woon a fringe-theatr e d i r e c t o r . H o n g Sang-soo, j u s t b a c k

^ H o n g San g - soo has si n ce shot , a m o n g ot h er s. Virgin Stripped Bare by Her Bachelors, Woman Is the Future of Man, A Tale of
Cinema... Le e Ch a n g - d o n g has m a d e . Peppermint Candy and Oasis b ef o r e b e co m i n g M i n i st e r of Cu l t u r e , t h e n r esigning in 2 0 0 2 .
Kim Ji- woon has sh ot A Tale of Two Sisters a n d A Bittersweet Life. Im Sang - soo, not ably. The President's Last Bang.
Special Thanks to:

Alban Barre, Patrice Hamel, Stephan May, Pascal Launay, Melodie, Cinemalta, Patrick Luthi,
Young-sook Kim, Antoine Moreau, Yunjeong Kim, Ina Park, Cineclick Asia, James Velaise,
Pretty Pictures, Angela Detanico, Rafael Lain, Magali Cuyon
and
Solal Cuyon-Barre

Edite avec Ie concours du Ministere Frangais charge

de la Culture - Centre National du Livre (aide a la
traduction).

For the translation published with the help of the

Ministere Franqais charge de la Culture - Centre
National du Livre.

© Editions Dis Voir

1 cite Riverin
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 ADRIEN COMBEAUD 9 BREAK ON THROUGH

ANAi'D DEMIR 37 KIM KI- DUK, SERIAL PAINTER

CEDRIC LACANDRE 59 SPOKEN WORDS IN SUSPENSE

CATHERINE CAPDEVILLE- ZENC 97 IN THE MIRROR OF Sll£NCE

DANIELE RIVIERE/ KIM KI- DUK 113 BLACK AND WHITE ARE THE SAME COLOR

120 BIOGRAPHY

123 FIIMOGRAPHY

127 PHOTO INDEX

Translated from the French by PAUL BUCK & CATHERINE PETIT