Opening Day: 27 December 2007

Synopsis:

After her husband’s confession of having an affair, Yeon finds herself heading towards the prison to meet a condemned criminal Jin who repeatedly attempted suicide. She doesn’t know why, but Yeon meets Jin and treats him like an old friend. Jin doesn’t open up to her that easily at first. While Yeon brings spring, summer and autumn to Jin in the prison, they fall for each other. But Jin’s clock is ticking away, and Yeon doesn’t want to send him away like that.

Movie Review:

Director Kim Ki Duk is back with his latest film. And we are excited to see what surprises it has in store for us. Known for his art-house cinematic works which are often abstractly symbolic, Kim is no stranger to international film festivals which adore his distinctively personal films. In his 14th feature, he tackles complex issues of what it constitutes to feel alive. And like his previous works, he provides no easy answers.

The plot is seemingly simple: A convict waiting for execution meets a woman whose husband is cheating on her. Through a series of cell visits, the two are strangely drawn towards each other. Written by the award-winning director himself, the 84-minute film is another gem that will go down well with art-house fans while drawing reactions of bewilderment to the common movie-goer. On paper, there is nothing exciting about the storyline, and it takes a whiz like Kim to execute a tale like that.

Which other director you know can intricately express the relationship between lonely two human beings through a seemingly ridiculous series of prison visits marked by colorful song-and-dance sequences? Which other director you know can include supporting characters like a touchy homosexual cell mate and a mysteriously faceless prison officer and have viewers ponder about issues of companionship and voyeurism? Which other director can boldly showcase a sensuous lovemaking scene between a death row convict and a desperate housewife and claim it as an artistic expression of liberation and freedom?

Kim’s signature silent protagonist is played by Chang Chen (2046, Blood Brothers) here captivatingly. Although it is not till towards the end of the movie that we learn of why he is given the death sentence, we feel for this man’s lonesomeness. Playing the female protagonist is Zia, who has had bit roles in Kim’s Spring, Summer, Autumn, Winter… and Spring (2003) and The Coast Guard (2002). Taking on the lead role seems effortless for the pleasant-looking actress, as she expresses her exasperation and vexation being trapped emotionally. The inclusion of supporting characters of the cheating husband (Ha Jung-Woo in another convincing role after Kim’s 2006 feature Time), the hilarious cell mate and the odd man behind the surveillance camera (we suspect it’s the director who took on the symbolic role of the voyeur here) will have you thinking about their purposes in the story.

Simple but effective shots by cinematographer Sung Jong-Moo (Time) tellingly reveals the story bit by bit. Straightforward cuts by editor Wang Su-an is an indication that a potent film like this does not need fancy effects or editing to bring it forward. Such is the power of visuals in filmmaking – viewers are left to interpret freely what the storyteller is trying to say with his pictures. To put it simply, this is the kind of film you must experience yourself to get a taste of what it’s like.

This film may not be as violent as Bad Guy (2001) or The Isle (2000), not as lyrically gorgeous as The Bow (2005) or 3-Iron (2004), but it is in no way less zen or thought-provoking as the master filmmaker’s previous works.

Movie Rating:

(Visually powerful and symbolic, this is another poetic gem by one of Asia’s most brilliant filmmakers)

Review by John Li