This is definitely not a film for all tastes. "The Isle" not only shows some of the most disturbing images on film but it also makes the viewer work hard to try and figure out what it all means. Especially the very last scene which I think was put there for each viewer to make they're own interpretation, as Kubrick did for the end of "2001, A Space Odyssey". Suh Jung plays Hee-Jin who rents out floating fish cabins and supplies bait, food and prostitutes. She also is a prostitute and she never utters a single word in the film. Some have called her character a mute but towards the end of the film she screams so I am thinking her silence might be of her own doing! She is attracted to one of the renters who is suicidal and is hiding out. Suh Jungs performance is very strong and its difficult to carry a film without speaking a word and the actor has to rely to a great length on how well and interesting the story is. Her performance reminds me of Isabelle Huppert in "The Piano Teacher". The amount of pain between the two characters is what they have in common. This is a film about relationships in a very strange setting with two strange people. Each character has a scene involving fish hooks and when they take place its up to the other character to try and ease the pain. Good cinematography with shots of the lake at dawn or sunset with mist and fog on the water. Very tough film to view with all the self mutilation and animal cruelty. For those of you who have viewed Asian films before then you should check out this very well made film.
72 Reviews
Fishermen's worst beautiful nightmare - and everyone else's, too
Bogey Man17 July 2002
Seom aka The Isle is written and directed by Korean film maker Ki-duk Kim. This bizarre film tells about happenings in strange fishing resort in which fishermen live and fish in floating cabins at daytime, and have fun and sex with local prostitutes at night time. The film's protagonist is an attractive, but very mysterious female (Suh Jung) who never talks, and works as some kind of "boat girl" who gets the food and prostitutes for the fishermen and other similar activities with her little boat. There is minimal amount of dialogue in The Isle, and it is hard to describe this ultra bizarre film after just one viewing.
The visuals are very astonishing and stunning as the settings are so atmospheric and natural. The calm mist and smoke above the water is very moody and even surreal, and this all is intensified even further by great use of camera, occasionally very weird angles and total feel of peace and magic. Blue is the main color in the film, and it is equally brilliant-looking as in many Hong Kong thrillers like Dr. Lamb by Danny Lee and Red to Kill by Billy Tang. The colors are always fantastic in Asian films, and The Isle once again proves and shows this. This film is a delight to the eye..at least before the infamous scenes involving fishing hooks.
The director has said that he wanted to depict relationships between men and women with this film, and that the film tells something about how dependent were are on each other, and especially on another sex. Once the first horrific "hook scene" comes, the only cure for his pain is the main female, who by giving him carnal pleasure, takes away or diminishes his pain - and vice versa later in the film. I think that this film is more feminist since the very surreal closing scene is so underlining as the man finally finds the "truth" and source of all life. Another reviewer thought that the end scene is gratuitous and only there to confuse things even further, and that may be the case, but still I want to interpret it as above, and it is very personal scene in depicting that eternal truth. Seeing is believing...
I think there's lot more than just this in the core of The Isle. The film really tells something about the relationship between humans and nature and nature's sources. There are many scenes depicting man exploiting nature and its inhabitants, and I think that the forthcoming scenes of mutilation are also symbolic as things turn upside down: humans become the victims of what they have practised and see the results. At this point, it is necessary to stress that there are many scenes of actual killing and off putting abuse of animals (mainly fish) which I, also, think are gratuitous since the message of the film is pretty hard to take since the film does the same exploitations it depicts committed by its characters. Then again, the killings show the real face of our world, since in order to stay alive, we have to use nature's resources and there's nothing wrong in that. So what's wrong in my opinion is that the animals in The Isle are not killed without pain and suffering, and that is not right nor human since I think that no living creature should die painfully or tortured. I wanted to think that the animals were not mutilated and killed in the film for real, but it all looks sadly too real. Still, I have to find the film's merits even though it becomes far more difficult when I remember these "animal snuff" scenes, that are unnecessarily explicit, albeit meant to be symbolic, which they of course are, if one can still accept this after the horrific imagery.
This film reminded me pretty much of Japanese film Naked Blood, which also is very beautiful and surreal film, but soon the horrific scenes of self mutilation and ultra splatter are on screen before the viewer's eyes. The self mutilations committed by fish hooks in The Isle are very gruelling to say the least, so this film will make the weakest viewers faint, as many festival screenings have proven. They are so sickeningly effective I wanted to stop thinking about what it would feel like to actually do something like that. Fish hooks are very small, but like Stuart Gordon has said (about the finger biting moment in Re-Animator), the smallest things may be the most horrific in many cases. These fish hooks really are symbolic as the humans are "turned to fishes" and get to see what they've done and created.
The Isle is very weird, bizarre, calm and also disturbing piece of cinema, and only minority of cinema lovers will stomach and appreciate films like The Isle. As I stressed earlier, I am sorry about the fact of animal mutilation presented in the film, and without those scenes, I would probably give more stars in the rating. Now it gets little less even if I wanted to give it more as a piece of art. 8/10 and to understand more about this film, it has to be seen many times since it unfolds pretty slowly.
The visuals are very astonishing and stunning as the settings are so atmospheric and natural. The calm mist and smoke above the water is very moody and even surreal, and this all is intensified even further by great use of camera, occasionally very weird angles and total feel of peace and magic. Blue is the main color in the film, and it is equally brilliant-looking as in many Hong Kong thrillers like Dr. Lamb by Danny Lee and Red to Kill by Billy Tang. The colors are always fantastic in Asian films, and The Isle once again proves and shows this. This film is a delight to the eye..at least before the infamous scenes involving fishing hooks.
The director has said that he wanted to depict relationships between men and women with this film, and that the film tells something about how dependent were are on each other, and especially on another sex. Once the first horrific "hook scene" comes, the only cure for his pain is the main female, who by giving him carnal pleasure, takes away or diminishes his pain - and vice versa later in the film. I think that this film is more feminist since the very surreal closing scene is so underlining as the man finally finds the "truth" and source of all life. Another reviewer thought that the end scene is gratuitous and only there to confuse things even further, and that may be the case, but still I want to interpret it as above, and it is very personal scene in depicting that eternal truth. Seeing is believing...
I think there's lot more than just this in the core of The Isle. The film really tells something about the relationship between humans and nature and nature's sources. There are many scenes depicting man exploiting nature and its inhabitants, and I think that the forthcoming scenes of mutilation are also symbolic as things turn upside down: humans become the victims of what they have practised and see the results. At this point, it is necessary to stress that there are many scenes of actual killing and off putting abuse of animals (mainly fish) which I, also, think are gratuitous since the message of the film is pretty hard to take since the film does the same exploitations it depicts committed by its characters. Then again, the killings show the real face of our world, since in order to stay alive, we have to use nature's resources and there's nothing wrong in that. So what's wrong in my opinion is that the animals in The Isle are not killed without pain and suffering, and that is not right nor human since I think that no living creature should die painfully or tortured. I wanted to think that the animals were not mutilated and killed in the film for real, but it all looks sadly too real. Still, I have to find the film's merits even though it becomes far more difficult when I remember these "animal snuff" scenes, that are unnecessarily explicit, albeit meant to be symbolic, which they of course are, if one can still accept this after the horrific imagery.
This film reminded me pretty much of Japanese film Naked Blood, which also is very beautiful and surreal film, but soon the horrific scenes of self mutilation and ultra splatter are on screen before the viewer's eyes. The self mutilations committed by fish hooks in The Isle are very gruelling to say the least, so this film will make the weakest viewers faint, as many festival screenings have proven. They are so sickeningly effective I wanted to stop thinking about what it would feel like to actually do something like that. Fish hooks are very small, but like Stuart Gordon has said (about the finger biting moment in Re-Animator), the smallest things may be the most horrific in many cases. These fish hooks really are symbolic as the humans are "turned to fishes" and get to see what they've done and created.
The Isle is very weird, bizarre, calm and also disturbing piece of cinema, and only minority of cinema lovers will stomach and appreciate films like The Isle. As I stressed earlier, I am sorry about the fact of animal mutilation presented in the film, and without those scenes, I would probably give more stars in the rating. Now it gets little less even if I wanted to give it more as a piece of art. 8/10 and to understand more about this film, it has to be seen many times since it unfolds pretty slowly.
For Asian film fans only.
=G=4 September 2003
"The Isle", a hauntingly beautiful film out of Korea, tells of a mysterious young woman who operates a flotilla of fishing huts on a lake from her rustic cabin providing transportation, delivery services, maintenance, and even sex for the men who rent the huts for R&R. As the story unfolds, so does a peculiar attraction between the non-speaking woman (Jung) and a suicidal patron (Kim) who watch each other from across the misty waters. "The Isle" delves in the yin-yang Asian aesthetic in which pain and pleasure yield the most satisfying life experience and, though much has been written about that controversial and grotesque aspect, it seems quite fitting in the context of the film and there is surprisingly little sex, nudity, or sensationalism. A minimalist film with almost no script, "The Isle" is an exotic art house experience which will play best with serious foreign film fans. All others should stay away. (B+)
Float Your Boat?
Ali_John_Catterall7 September 2004
There are two immutable truths in matters of the heart. None more desirable than those who do not want you; none less desirable than those you could possess with ease. Somewhere between these two axioms fall the doomed lovers of this spellbinding offering. Beautiful Hee-Jin (Jung) is the grounds keeper for a dingy Korean fishing resort, selling snacks, bait, her tits 'n' ass, to the tourists she ferries between flotillas of fishing huts.
Fugitive Hyun-Shik (Yoo-Suk) shows up one day, shivering, suicidal, utterly alone. Another lost soul, Hee-Jin's smitten because, unlike her sleazy clientèle, Hyun-Shik's different. He doesn't abuse her or make fun of her muteness. And he fashions exquisite little wire sculptures for her, as they study one another across the rain-spattered lake. He in his unreachable desolation, she in her shore-side cabin, cat-like and inscrutable. The first time he tries to kill himself, by swallowing fishing hooks, she brings him back to life to love the only way she knows. From suicide to sex in three minutes. And nobody is going to get in her way. Director Kim Ki-duk, responsible for surprise Art-house hit Spring, Summer, Autumn, Winter and Spring, has crafted another beautiful-horrible movie; gorgeous to look at, and often between splayed fingers. It's as minimal and soulful as a haiku. And as painful as falling in love
Fugitive Hyun-Shik (Yoo-Suk) shows up one day, shivering, suicidal, utterly alone. Another lost soul, Hee-Jin's smitten because, unlike her sleazy clientèle, Hyun-Shik's different. He doesn't abuse her or make fun of her muteness. And he fashions exquisite little wire sculptures for her, as they study one another across the rain-spattered lake. He in his unreachable desolation, she in her shore-side cabin, cat-like and inscrutable. The first time he tries to kill himself, by swallowing fishing hooks, she brings him back to life to love the only way she knows. From suicide to sex in three minutes. And nobody is going to get in her way. Director Kim Ki-duk, responsible for surprise Art-house hit Spring, Summer, Autumn, Winter and Spring, has crafted another beautiful-horrible movie; gorgeous to look at, and often between splayed fingers. It's as minimal and soulful as a haiku. And as painful as falling in love
Masterful film-making
Leofwine_draca14 May 2015
I'm fast becoming a fan of Korean director Kim Ki-duk; this is the second film of his I've watched after SPRING, SUMMER, AUTUMN, WINTER...AND SPRING. The two films have much in common in terms of style and setting, but THE ISLE is something else entirely. While SPRING was a heartwarming story that championed the Buddhist lifestyle, THE ISLE is an extraordinarily dark tale of obsession and broken psychology.
One again, Kim Ki-duk has crafted an expertly visual film; THE ISLE looks fantastic and the setting of those floating holiday lettings is an exceptional one. The characters are painted in broad strokes but this makes them thoroughly interesting and it goes without saying that the subdued acting is fantastic. This is a slow burner of a film, yes, but a thoroughly satisfying one all the same, in which the atmosphere is interspersed with some eye-popping set-pieces; if this doesn't put you off fishing then I don't know what will.
Although the infliction of pain is upsetting in the extreme, there are always good reasons for what occurs here, making this as far from "torture porn" as you'll get. The only issue I have with it really is the real-life animal cruelty, something I'm dead set against, but the UK DVD thankfully excises much of this material. In any case, I can't wait to check out more from the director.
One again, Kim Ki-duk has crafted an expertly visual film; THE ISLE looks fantastic and the setting of those floating holiday lettings is an exceptional one. The characters are painted in broad strokes but this makes them thoroughly interesting and it goes without saying that the subdued acting is fantastic. This is a slow burner of a film, yes, but a thoroughly satisfying one all the same, in which the atmosphere is interspersed with some eye-popping set-pieces; if this doesn't put you off fishing then I don't know what will.
Although the infliction of pain is upsetting in the extreme, there are always good reasons for what occurs here, making this as far from "torture porn" as you'll get. The only issue I have with it really is the real-life animal cruelty, something I'm dead set against, but the UK DVD thankfully excises much of this material. In any case, I can't wait to check out more from the director.
A tour de force of South Korean cinema...
paul_haakonsen10 January 2016
"The Isle" (aka "Seom") is somewhat of an acquired taste of movie, and it does stand out in the South Korean cinema as being very original and bold in its own way. And with that said, then this is the type of movie that doesn't appeal to just everyone in the audience.
The story is about a mute woman named Hee-Jin who works at a fishing resort, where she sell bait, food and even herself to the visiting fishermen. She falls in love with the reclusive Hyun-Shik, whom is running from the police.
There isn't a lot of dialogue in the entire movie, which could be odd for some people. But what the movie doesn't have in dialogue, it more than makes up for in visual presentation. Director Ki-Duk Kim really managed to tell a beautiful story in "The Isle".
The acting talents in "The Isle" were also doing great work with their individual roles, especially since there were not all that much dialogue, so there was a higher pressure in terms of acting through gestures, body language and mood. And especially Jung Suh (playing Hee-Jin) was impressive in "The Isle", as she performed phenomenally.
It is the visuals in "The Isle" that makes it a formidable movie. It is so well-filmed and the acting talents all contributed to make this a memorable movie. Some scenes are quite graphic and brutal to watch, but they are presented in a great way and they are essential to the movie.
"The Isle" is a unique moment in the South Korean cinema, and it is a movie that you should sit down to watch if you enjoy Asian movies.
The story is about a mute woman named Hee-Jin who works at a fishing resort, where she sell bait, food and even herself to the visiting fishermen. She falls in love with the reclusive Hyun-Shik, whom is running from the police.
There isn't a lot of dialogue in the entire movie, which could be odd for some people. But what the movie doesn't have in dialogue, it more than makes up for in visual presentation. Director Ki-Duk Kim really managed to tell a beautiful story in "The Isle".
The acting talents in "The Isle" were also doing great work with their individual roles, especially since there were not all that much dialogue, so there was a higher pressure in terms of acting through gestures, body language and mood. And especially Jung Suh (playing Hee-Jin) was impressive in "The Isle", as she performed phenomenally.
It is the visuals in "The Isle" that makes it a formidable movie. It is so well-filmed and the acting talents all contributed to make this a memorable movie. Some scenes are quite graphic and brutal to watch, but they are presented in a great way and they are essential to the movie.
"The Isle" is a unique moment in the South Korean cinema, and it is a movie that you should sit down to watch if you enjoy Asian movies.
So many levels
InzyWimzy3 September 2004
Now this is a great example of horror. Not your slasher, undead walking, predictable spoon fed story. Instead, the Isle's simple setting proves that looks can be deceiving as calm waters and clear blue skies belie the murky depths and secrets hidden within.
I never realized the symbolism in this movie: fishing, bait, the simple action of simply tossing back an unwanted catch back in the water. Scenes most striking and prominent contained little or even no dialogue. The soundtrack is subtle, yet highly effective in establishing mood. Then again, anyone who has gone fishing can appreciate the tranquil, and peaceful state which can be very rewarding. How about human relationships? How about the bad times or deep hurts so traumatizing which cannot be shared with anyone. Do we walk burdened carrying deep pains like say a wounded scaled fish? Although it may be wounded, it still goes on swimming in its daily routine. Our two main characters throughout the film really catch you offguard. Let's just say "misery loves company". This horror is more psychological and more tangible than what you would usually see on screen.
I was impressed by Jung Suh who really displays the strength of Hee-Jin, and at the same time shows a frail, tragic side. Her routine actions like steering the boat, tending to the renters' are done so convincingly that you feel like you're at the lake watching true events unfold. Credit also Ki-Duk Kim for directing this without making it into a sappy love story and not going overboard or too artsy. Be warned: the Isle is laced with dark humor and will have you thinking about it after it is done. I really appreciate films that are able to do that.
I never realized the symbolism in this movie: fishing, bait, the simple action of simply tossing back an unwanted catch back in the water. Scenes most striking and prominent contained little or even no dialogue. The soundtrack is subtle, yet highly effective in establishing mood. Then again, anyone who has gone fishing can appreciate the tranquil, and peaceful state which can be very rewarding. How about human relationships? How about the bad times or deep hurts so traumatizing which cannot be shared with anyone. Do we walk burdened carrying deep pains like say a wounded scaled fish? Although it may be wounded, it still goes on swimming in its daily routine. Our two main characters throughout the film really catch you offguard. Let's just say "misery loves company". This horror is more psychological and more tangible than what you would usually see on screen.
I was impressed by Jung Suh who really displays the strength of Hee-Jin, and at the same time shows a frail, tragic side. Her routine actions like steering the boat, tending to the renters' are done so convincingly that you feel like you're at the lake watching true events unfold. Credit also Ki-Duk Kim for directing this without making it into a sappy love story and not going overboard or too artsy. Be warned: the Isle is laced with dark humor and will have you thinking about it after it is done. I really appreciate films that are able to do that.
Beautiful but gruesome
Smallclone10014 June 2018
Wow, where to start with this. Ki Duk Kim has always been a divisive director, with his films showing slow burning, very natural, almost spiritual human traits. This though is like a magnified version of a Ki Duk Kim film. It's low budget, set in a single location, stunningly beautiful, very gruesome in parts, explicit and controversial. It centres around a lonely woman (Hee Jin) who delivers bait to tourist fisherman. What we see unfold is a symbolism heavy ride into a twisted / tumultuous relationship between Hee Jin and a visitor. It's full of breathtaking cinematography, sparse dialogue and one of the most stomach churning suicide attempts I've ever seen on screen. As usual with Ki Duk Kim, water as a symbol is featured heavily, and so are animals and nature. Quite why certain little creatures are sacrificed on screen I'm not sure though. A warning to anyone who is easily offended by animal cruelty - don't watch this movie.
What does it all mean in the end? I'm torn between it being an entire metaphor for how difficult relationships can be / an exploration into gender roles or a simple descent into madness tale. Maybe all 3. It is a heck of an experience though. Think of a Pedro Almodóvar movie mixed with a bit of Takashi Miike, maybe with a bit of Haneke in there too, and you may get the picture.
It's beautiful yet gruesome. I have to take a mark off for the animal cruelty, as it is bordering on unacceptable levels at times, but it still gets a 7.5/10
What does it all mean in the end? I'm torn between it being an entire metaphor for how difficult relationships can be / an exploration into gender roles or a simple descent into madness tale. Maybe all 3. It is a heck of an experience though. Think of a Pedro Almodóvar movie mixed with a bit of Takashi Miike, maybe with a bit of Haneke in there too, and you may get the picture.
It's beautiful yet gruesome. I have to take a mark off for the animal cruelty, as it is bordering on unacceptable levels at times, but it still gets a 7.5/10
Challenges the audience to work for their reward, but pays off if you make it
simon_booth17 March 2002
Another movie that has attained a little notoriety from the number of walk-outs at festival screenings, and even a couple of audience members passing out. Whilst it is not hard to see why, it is a shame that is what the film is known for, as there is much more to it than *those* scenes. A mute girl makes a living running a kind of retreat, where men can rent a floating cabin on a lake in the mountains and spend their days fishing, and their nights sleeping with prostitutes. The mute girl makes ends meet by taking on this role as well. A young man arrives and rents a cabin, clearly not their for the fish. We see that he is tortured and suicidal - you wouldn't guess why from the 5 second flashback that is meant to explain it, but the 'filmography' section of the DVD explains it in more detail. The mute girl is drawn to the man's desperation, perhaps feeling sympathy/protectiveness, or perhaps simply relating to another deeply unhappy soul.
The relationship between these two characters, and several other characters that come to the lake for one reason or another, is the main focus of the film. The difficulty some people have with relationships is the topic being studied, particularly when they are not happy in their relationship with themselves. The inner feelings of the characters receive expression in scenes whose 'shock factor' has drawn inevitable comparisons with Takashi Miike, especially AUDITION. Director Kim Ki Duk doesn't seem to mind these comparisons:
"KK: I saw Audition at Toronto and that movie made me realize that there is someone else out there like me. We are two of a kind"
If you couldn't sit through the last half hour of AUDITION, you'll probably want to give THE ISLE a miss too. It's also definitely not a film for animal lovers... there is absolutely zero chance of the film being released intact in the UK or the US, as the treatment of the animals in the film (mainly fish) is far outside what is permissible in either country's regulations.
But there is much more to THE ISLE than the scenes that make keeping your eyes on screen a challenge. In between, the film is absolutely ravishing, and will keep your eyes glued there. The setting of the lake, mostly bathed in deep fog, and the fantastic wordless performance from actress Jung Suh (and the rest of the cast) are beautiful and powerful. The loneliness and sadness of the characters is reflected brilliantly in the total isolation of the floating cabins. There is a deep message in the film, and it is presented to us beautifully.
Like Miike, Kim Ki-Duk makes us work for our reward when we watch THE ISLE... if you want to take away the beauty of his film, you have to be willing to pay the price of the horror. Thoroughly recommended!
One note: the film is another one of those great films that just doesn't know how to end itself. Actually, we get the perfect ending... a nice long shot and a fade to white and it should have been over, but
apparently Kim Ki Duk wasn't quite satisfied to leave it at that and tacks on two extra scenes, about a minute of footage, that are simply inexplicable and serve only to confuse and spoil the mood. My recommendation... when it fades to white, simply stop the DVD
The relationship between these two characters, and several other characters that come to the lake for one reason or another, is the main focus of the film. The difficulty some people have with relationships is the topic being studied, particularly when they are not happy in their relationship with themselves. The inner feelings of the characters receive expression in scenes whose 'shock factor' has drawn inevitable comparisons with Takashi Miike, especially AUDITION. Director Kim Ki Duk doesn't seem to mind these comparisons:
"KK: I saw Audition at Toronto and that movie made me realize that there is someone else out there like me. We are two of a kind"
If you couldn't sit through the last half hour of AUDITION, you'll probably want to give THE ISLE a miss too. It's also definitely not a film for animal lovers... there is absolutely zero chance of the film being released intact in the UK or the US, as the treatment of the animals in the film (mainly fish) is far outside what is permissible in either country's regulations.
But there is much more to THE ISLE than the scenes that make keeping your eyes on screen a challenge. In between, the film is absolutely ravishing, and will keep your eyes glued there. The setting of the lake, mostly bathed in deep fog, and the fantastic wordless performance from actress Jung Suh (and the rest of the cast) are beautiful and powerful. The loneliness and sadness of the characters is reflected brilliantly in the total isolation of the floating cabins. There is a deep message in the film, and it is presented to us beautifully.
Like Miike, Kim Ki-Duk makes us work for our reward when we watch THE ISLE... if you want to take away the beauty of his film, you have to be willing to pay the price of the horror. Thoroughly recommended!
One note: the film is another one of those great films that just doesn't know how to end itself. Actually, we get the perfect ending... a nice long shot and a fade to white and it should have been over, but
apparently Kim Ki Duk wasn't quite satisfied to leave it at that and tacks on two extra scenes, about a minute of footage, that are simply inexplicable and serve only to confuse and spoil the mood. My recommendation... when it fades to white, simply stop the DVD
Hiding and finding
lastliberal1 June 2008
I do not know how I stumbled upon this film by writer/director Ki-duk Kim, but I am sure glad that I did. The cinematography was absolutely incredible as the story takes place on a lake, where cabins are rented for fishermen.
Jung Suh plays the woman who travels from fishing cabin to fishing cabin selling coffee, bait, and sometimes more. She never says one word the entire film.
She forms an attraction for a man (Yoosuk Kim) who is troubled to the point that he is contemplating suicide.
The film is sometimes very grotesque, or brutal, and sometimes very funny, as a man interrupts sex to land a fish and then goes back to finishing his sexual act.
A strange ending and we really never know the whole stories, but it was fascinating to watch.
Jung Suh plays the woman who travels from fishing cabin to fishing cabin selling coffee, bait, and sometimes more. She never says one word the entire film.
She forms an attraction for a man (Yoosuk Kim) who is troubled to the point that he is contemplating suicide.
The film is sometimes very grotesque, or brutal, and sometimes very funny, as a man interrupts sex to land a fish and then goes back to finishing his sexual act.
A strange ending and we really never know the whole stories, but it was fascinating to watch.
SPOILER: It is hard to understand disturbed attraction. - I might SPOIL it for you.
Roxannecvm2 August 2004
Warning: Spoilers
Seom is quite unique. Not quite as brute as Audition, to which it is often compared, yet much more subtly menacing. I cannot claim to have fully understood this film, yet it does seem to me that the attraction between the mute care taker and the fugitive is purely violent. The parallelism between her muteness and him swallowing fishers hooks (note that he does not speak thereafter), and his attempted rape of the care taker and her inserting the fishers hooks into her genitals (you do not see them intimately thereafter) seems to resolve all issues between them. They have somewhat become equal, and choose to live in solitude. Having become the same, there is no reason for them to continue their desperation though - they are not alone anymore, finally. That is why (and how I disagree with other comments) it is necessary for them to die in the end (I do assume both have committed suicide).
No Man is an Island, but...
Prof_Lostiswitz4 June 2003
Warning: Spoilers
...a woman is.
At least, that's the image underlying the title of this movie. It's set on this remote mountain lake with only a few floating fishing-huts plus a shack for Hee-Jin, the caretaker of this primitive resort. This young lady (the only permanent resident) is mute; she can make noises, so her muteness is probably caused by some psychological trauma (cf. The Painted Bird), something suggested by her personality. Although she appears to be a menial, she has the leaky boat which is the only access to and from the cabins, also she turns out to have unsuspected powers of underwater diving. Combined with her great beauty and fierce intensity, this gives her the aspect of a nature-spirit.
The visiting fishermen who rent these little holiday huts are coarse brutes, who treat her like a slave; early on, they buy her services in bed, then throw the money into the water, so she has to dive for it and then dry it out. Needless to say, strange and unpleasant things soon happen to these visitors due to some mysterious underwater force.
Enter another visitor, a decent and sensitive guy who amuses himself making wire sculptures when not fishing. Through seeing his nightmares we know he is a fugitive on the run after killing his unfaithful girlfriend and her companion in a fit of jealousy. Hee-Jin is almost beside herself with loneliness and frustration, however remote she may first appear, and she soon takes a fancy to the newcomer. He, tormented by memories, is about to shoot himself when a spike appears out of the lake and stabs him in the thigh, causing him to drop the gun. Later on he attempts to forestall police capture by committing suicide with fishhooks in the most gruesome way possible; she hides him, then carefully removes the hooks from his throat, then gives him artificial respiration, then makes love to him. He later repays her for her kindness by hitting her - he's terrified by the thought of a new relationship - but they go on to develop a deep attachment.
There is so little dialogue that this is almost like a silent movie, and that is what gives it its immense power. Suh Jung (Hee-Jin) displays the most astonishing acting ability in an extremely difficult role. It's necessary to her character that she not speak or smile, so she has to use great skill to communicate her feelings in other ways. As remote as she is, one's heart immediately goes out to her, and her austere demeanour makes a pleasant contrast to the airheaded call-girls who sometimes get summoned to the lake by fishermen. The silence is punctuated by the sound of waves and oars, and occasionally by creepy electronic music making the atmosphere reminiscent of "Aguirre, the Wrath of God". Suh Jung is obviously someone to watch for in future.
The Isle reminds me of The Blue Light (1932), in which the power of nature is symbolized by an outcast woman unable to communicate, but who masters the rocky precipices that send experienced mountaineers to their doom. Leni Riefenstahl is as enigmatic as Suh Jung, so I recommend it to people who understand The Isle.
One flaw is the epilogue - two metaphorical scenes not part of the narrative, which confuse the viewer. Although the scenes aren't bad, they should have been incorporated within the narrative, e.g. by being shown on a TV being watched by fishermen.
I dare say that this will be remembered as one of the great movies of the 21st century, and this from Korea - a country not previously known for cinematography. Director Ki-duk Kim is obviously a talent to be reckoned with.
At least, that's the image underlying the title of this movie. It's set on this remote mountain lake with only a few floating fishing-huts plus a shack for Hee-Jin, the caretaker of this primitive resort. This young lady (the only permanent resident) is mute; she can make noises, so her muteness is probably caused by some psychological trauma (cf. The Painted Bird), something suggested by her personality. Although she appears to be a menial, she has the leaky boat which is the only access to and from the cabins, also she turns out to have unsuspected powers of underwater diving. Combined with her great beauty and fierce intensity, this gives her the aspect of a nature-spirit.
The visiting fishermen who rent these little holiday huts are coarse brutes, who treat her like a slave; early on, they buy her services in bed, then throw the money into the water, so she has to dive for it and then dry it out. Needless to say, strange and unpleasant things soon happen to these visitors due to some mysterious underwater force.
Enter another visitor, a decent and sensitive guy who amuses himself making wire sculptures when not fishing. Through seeing his nightmares we know he is a fugitive on the run after killing his unfaithful girlfriend and her companion in a fit of jealousy. Hee-Jin is almost beside herself with loneliness and frustration, however remote she may first appear, and she soon takes a fancy to the newcomer. He, tormented by memories, is about to shoot himself when a spike appears out of the lake and stabs him in the thigh, causing him to drop the gun. Later on he attempts to forestall police capture by committing suicide with fishhooks in the most gruesome way possible; she hides him, then carefully removes the hooks from his throat, then gives him artificial respiration, then makes love to him. He later repays her for her kindness by hitting her - he's terrified by the thought of a new relationship - but they go on to develop a deep attachment.
There is so little dialogue that this is almost like a silent movie, and that is what gives it its immense power. Suh Jung (Hee-Jin) displays the most astonishing acting ability in an extremely difficult role. It's necessary to her character that she not speak or smile, so she has to use great skill to communicate her feelings in other ways. As remote as she is, one's heart immediately goes out to her, and her austere demeanour makes a pleasant contrast to the airheaded call-girls who sometimes get summoned to the lake by fishermen. The silence is punctuated by the sound of waves and oars, and occasionally by creepy electronic music making the atmosphere reminiscent of "Aguirre, the Wrath of God". Suh Jung is obviously someone to watch for in future.
The Isle reminds me of The Blue Light (1932), in which the power of nature is symbolized by an outcast woman unable to communicate, but who masters the rocky precipices that send experienced mountaineers to their doom. Leni Riefenstahl is as enigmatic as Suh Jung, so I recommend it to people who understand The Isle.
One flaw is the epilogue - two metaphorical scenes not part of the narrative, which confuse the viewer. Although the scenes aren't bad, they should have been incorporated within the narrative, e.g. by being shown on a TV being watched by fishermen.
I dare say that this will be remembered as one of the great movies of the 21st century, and this from Korea - a country not previously known for cinematography. Director Ki-duk Kim is obviously a talent to be reckoned with.
I have seen this movie...
siderite16 October 2006
There isn't much I feel I can say about this movie. It is beautiful, yet boring; metaphoric, yet obvious; brutal, yet gentle. It combines many of the classic story lines in a weird and outworldy way.
Basically, it is a movie about love, but the people involved are introverted tortured individuals. I believe that the title points to the way each character in the movie is an island of its own, a metaphor that is laid out in the physical world as rental floating cabins on a lake, and the girl that services this world is some sort of very dark mermaid.
However, I feel that it goes too arty for my tastes. Between the occasional feelings of nausea, horror, pity and anxiety, there are long periods of boredom. I can hardly identify with most of the characters, as they belong to an underground world that I am not part of.
Bottom line: a movie for Asian fans, for Kim Ki Duk fans, for movie art fans.
Basically, it is a movie about love, but the people involved are introverted tortured individuals. I believe that the title points to the way each character in the movie is an island of its own, a metaphor that is laid out in the physical world as rental floating cabins on a lake, and the girl that services this world is some sort of very dark mermaid.
However, I feel that it goes too arty for my tastes. Between the occasional feelings of nausea, horror, pity and anxiety, there are long periods of boredom. I can hardly identify with most of the characters, as they belong to an underground world that I am not part of.
Bottom line: a movie for Asian fans, for Kim Ki Duk fans, for movie art fans.
BIZARRE
yellowdelaney4 February 2001
I'll say this much--This director is all about RAW images...things most of us are not ready to confront head-on. Images of sex, suicide, murder, and people "relieving themselves" are constantly bombarding the viewer, which makes me wonder if the director was trying to communicate the concept of relief or release. Although I don't think that I could ever see this movie again, I will say that the director does have a good eye. There were some really nice shots and "picture moments" in the film (the fans, the wire fish in their hair), but the story left me needing more (strictly in the since that we were left asking ourselves "what the heck did we just see?").
Note: If you have a tendency to gag or vomit easily...don't see this film.
Note: If you have a tendency to gag or vomit easily...don't see this film.
A Deliriously Dark Love Story Between Two Broken Souls
CinemaClown9 June 2020
Introducing the world to the wickedly disturbing yet thoughtful style of one of South Korea's most prolific & controversial filmmakers, The Isle is a deliriously dark story of love, obsession & salvation that follows two broken souls who find comfort in each other's company but is notorious for its grisly & graphic imagery of stomach-churning gore.
Written & directed by Kim Ki-duk (3-Iron, Pieta & Moebius), the film takes its time to set things up but an aura of mystery & hint of past trauma does loom over its main characters from the very beginning. Kim allows their relationship to develop at its natural pace and holds nothing back when portraying their emotional vulnerability or darker sides.
The serene & soothing ambience is aptly illustrated by the quiet camerawork but a lot of gruesome moments unfold in this calm setting. There are some scenes involving fish hooks that are extremely distressing to watch while the animal cruelty on display is bound to upset most viewers. As for the performances, Suh Jung steals the show without uttering a word.
Overall, The Isle is more inclined towards art-house audience than casual filmgoers and is destined to garner a divisive reaction. While some might call it a misunderstood gem, others will feel violated by it. Definitely not a film for all, it is as beautiful to look at as it is vile on several occasions but the human drama that unravels at its centre remains mostly compelling. Enter at your own risk.
Written & directed by Kim Ki-duk (3-Iron, Pieta & Moebius), the film takes its time to set things up but an aura of mystery & hint of past trauma does loom over its main characters from the very beginning. Kim allows their relationship to develop at its natural pace and holds nothing back when portraying their emotional vulnerability or darker sides.
The serene & soothing ambience is aptly illustrated by the quiet camerawork but a lot of gruesome moments unfold in this calm setting. There are some scenes involving fish hooks that are extremely distressing to watch while the animal cruelty on display is bound to upset most viewers. As for the performances, Suh Jung steals the show without uttering a word.
Overall, The Isle is more inclined towards art-house audience than casual filmgoers and is destined to garner a divisive reaction. While some might call it a misunderstood gem, others will feel violated by it. Definitely not a film for all, it is as beautiful to look at as it is vile on several occasions but the human drama that unravels at its centre remains mostly compelling. Enter at your own risk.
Capturing, horrifying, great visual narrative
ilpohirvonen10 February 2010
Seom (The Isle) was the first movie I saw by the South Corean director Ki-Duk Kim and I liked it. It's about a strange lonely woman who rents floating fish huts for people to sleep in. In addition to food and coffee she also provides sexual services for the men.
The story gets going when a retired policeman, who has murdered his girlfriend arrives to the place of floating huts. A strange romantic relationship build between these two loners and sex becomes a drug for them - a medicine to mental and physical injuries.
An important theme of the movie is fishing, in my opinion Ki-Duk compares fishing to relationships; you need bait to lure the catch, just as one example. The movie analyzes love and relationships: do they always end up to a disaster or can they save a human's life. I'm sure I will come back to this film, because of its several layers.
There's not much of a dialog in this film, which to my mind is good. Because it's the reason why this movie is so capturing and it shows the visual skills of Ki-Duk Kim. Of course there is also always a reason to choose the quiet way, for the Belgian Dardenne brothers it is film-philosophy for Ki-Duk it is probably the style of narrative, but also the thing what silence does to the observation of the viewer.
The thing that bothers me with this film is the abuse of animals. I don't know whether the scenes were real or faked, but anyways they were pretty nasty. I can watch almost anything (Le Sang Des Betes), but it just doesn't feel right. Even that the scenes were important for the film - Ki-Duk's symbolicism.
So get ready for something a little different, something disturbing and yet so interesting. I wouldn't recommend this to the most sensitive viewers because it has a lot of brutal and violent scenes. Set your mind ready for some symbolism and good extraordinary narrative.
The story gets going when a retired policeman, who has murdered his girlfriend arrives to the place of floating huts. A strange romantic relationship build between these two loners and sex becomes a drug for them - a medicine to mental and physical injuries.
An important theme of the movie is fishing, in my opinion Ki-Duk compares fishing to relationships; you need bait to lure the catch, just as one example. The movie analyzes love and relationships: do they always end up to a disaster or can they save a human's life. I'm sure I will come back to this film, because of its several layers.
There's not much of a dialog in this film, which to my mind is good. Because it's the reason why this movie is so capturing and it shows the visual skills of Ki-Duk Kim. Of course there is also always a reason to choose the quiet way, for the Belgian Dardenne brothers it is film-philosophy for Ki-Duk it is probably the style of narrative, but also the thing what silence does to the observation of the viewer.
The thing that bothers me with this film is the abuse of animals. I don't know whether the scenes were real or faked, but anyways they were pretty nasty. I can watch almost anything (Le Sang Des Betes), but it just doesn't feel right. Even that the scenes were important for the film - Ki-Duk's symbolicism.
So get ready for something a little different, something disturbing and yet so interesting. I wouldn't recommend this to the most sensitive viewers because it has a lot of brutal and violent scenes. Set your mind ready for some symbolism and good extraordinary narrative.
Beautiful directed, but unsettling movie that edges towards revulsion too often...
joebloggscity20 November 2005
After having seen "Bad guy" (by the same director) I obtained this movie expecting different and better, and what I seemed to find was rather a toned down version of that film. The premise of the movie is one set on a lake where a woman rents out floating chalets to men for fishing which really double up as brothels for a "fun" weekend away for the clients. The landlady of this business never says a word in the entire movie, but rather uses her emotions to convey what she feels, and into her world steps a suicidal cop whom she begins to fall in love with.
The story unfolds as the landlady and the cop begin to cover up for each other, whilst the landlady, being repressed emotional, begins to open up but in a dark manner. Jealousy, hurt and fear lead to grave consequences, and the pair have to further sink into the mire to survive, but not before finding that they both need each other just as much to keep going.
A difficult movie, which seems to treat women too much as sex objects alone, whilst some of the sex scenes can be a little too graphic. Additionally, the short bursts of violence are unnecessary and take away from the movie, whilst the rape scene will pander too much to those we shouldn't be encouraging. On the other hand, the main two leads are absolutely great in their respective roles and carry their roles incredibly well whilst the film is simply eye-candy in its settings and looks, which are the two saving graces.....
Overall, a mixed movie... Wouldn't strongly recommend at all, even if you are a big big fan of Asian cinema like myself....
The story unfolds as the landlady and the cop begin to cover up for each other, whilst the landlady, being repressed emotional, begins to open up but in a dark manner. Jealousy, hurt and fear lead to grave consequences, and the pair have to further sink into the mire to survive, but not before finding that they both need each other just as much to keep going.
A difficult movie, which seems to treat women too much as sex objects alone, whilst some of the sex scenes can be a little too graphic. Additionally, the short bursts of violence are unnecessary and take away from the movie, whilst the rape scene will pander too much to those we shouldn't be encouraging. On the other hand, the main two leads are absolutely great in their respective roles and carry their roles incredibly well whilst the film is simply eye-candy in its settings and looks, which are the two saving graces.....
Overall, a mixed movie... Wouldn't strongly recommend at all, even if you are a big big fan of Asian cinema like myself....
Kim Ki-duk at his best
EzoterikDark10 June 2005
Warning: Spoilers
I am a big fan of Kim Ki-duk, ever since I watched Spring, summer... After that one, I just couldn't get enough. And now after 3-iron, Samaria, Address Unknown and finally The Isle, I can safely say, that the man is a genius.
The Isle is essentially, a story about two people. People that eventually fall in love and people that are both semi disturbed. The male protagonist is clearly hunted by the police, and the female (the caretaker of 'islands') is pretending that is mute, when many scenes in the movie indicate that she really is not. Now what makes The Isle special. It's the gritting harsh undertones that mellow down to nice loving drama. The contrast between extreme torture and love and empathy is just too great. Anyone that watched Ki-duk's movies before, knows that all share a common theme. Motto 'If you do something it will come back after you' is ever present in his movies. You cannot run away from any act you do. As in most of his movies, dialogs play a REALLY small part in this one. The whole movie contains maybe 40 sentences all in all. And the female protagonist never speaks.
Now all the warnings about extreme torture and 'it's too much for all to handle' are all just. The Isle sometimes just SCREAMS, as a piece itself. You feel the pain, the sadness the longing in each and every character, and sometimes the punishment they receive is just too much. But. The Isle is a movie that will not leave you untouched.
The Isle is a jewel of modern Asian cinema, for me almost the best. Maybe just a tad behind Kikujiro and The Dolls of Kitano, and before many others.
The Isle is essentially, a story about two people. People that eventually fall in love and people that are both semi disturbed. The male protagonist is clearly hunted by the police, and the female (the caretaker of 'islands') is pretending that is mute, when many scenes in the movie indicate that she really is not. Now what makes The Isle special. It's the gritting harsh undertones that mellow down to nice loving drama. The contrast between extreme torture and love and empathy is just too great. Anyone that watched Ki-duk's movies before, knows that all share a common theme. Motto 'If you do something it will come back after you' is ever present in his movies. You cannot run away from any act you do. As in most of his movies, dialogs play a REALLY small part in this one. The whole movie contains maybe 40 sentences all in all. And the female protagonist never speaks.
Now all the warnings about extreme torture and 'it's too much for all to handle' are all just. The Isle sometimes just SCREAMS, as a piece itself. You feel the pain, the sadness the longing in each and every character, and sometimes the punishment they receive is just too much. But. The Isle is a movie that will not leave you untouched.
The Isle is a jewel of modern Asian cinema, for me almost the best. Maybe just a tad behind Kikujiro and The Dolls of Kitano, and before many others.
Hooked
Macholic8 February 2004
The fishermen live in small cottages at the lake and a mute girl sells equipment in a kiosk at the shore, she is having the hots for one of the guys and is getting quite a bit jealous when other ladies sees him. They both get hooked, in more than one way and when the hooks must be pulled out again - OUCH! Then they are moving into Takashi Miike territory. And then there is the odd murder going on. This is a gorgeous looking movie moving at a pretty slow pace. This is not everyones cup of tea, but sit back and enjoy the great pictures, gorehounds will be bored and the squeemish should stay clear of this one. 7/10
Deeply moving and emotional film.
HumanoidOfFlesh14 September 2003
Ki-duk Kim's "Seom"/"The Isle" has to be one of the most beautiful movies I have ever seen.The cinematography,the silence and the themes under the surface are incredible.The film explores human relationships and the pain of being in love,and being loved.Both characters(Hyun-shik and Hin-jin)are lost human beings searching for love.They crave love,yet shun it when it comes to them,as they are deeply aware of the destructive qualities it brings out in them.Suh-Shik Hwang's cinematography is absolutely beautiful and captures many impressive visuals.Still there are some horrific images that will shock casual viewer,so the viewer should be prepared.9 out of 10.
Not your average sexual perversion horror movie
Chris_Docker12 September 2004
A memorable setting a lake with several tiny floating homes. The fishermen (and visitors) also use the floats for liaisons with prostitutes whether the local girl who ferries people across and brings coffee-to-go with her boat, or the more modern whores ordered in from town. Out local girl forms a bit of an obsession with one of the local weirdos, and he with her. After rescuing each other in various ways, our attention is turned towards gruesome things you can do with fish hooks inserted into orifices. The Isle teeters between serious cinema much of it stunningly shot with an impressive minimalism and voyeuristic sensationalism. As the plot ultimately fails to hang together, sensationalism maybe tips the scales. What is doubly amusing is how the filmmakers (or their Korean censors) seem happy to show us the most blood curdling sexual perversion, yet shy away from any on-screen genitalia, even when it is quite intrinsic to what is going on (I'll leave the gory details to your imagination).
Painful, Disgusting, Violent, Retarded! Three Words: Worst Movie Ever!
Realm_Of_Sweet_Infinity6 November 2009
Warning: Spoilers
I really can't understand how could someone give this disgusting film more than 1 star... How can you like such a retarded film, where all the animal abuse scenes are real? I don't even want to imagine the excruciating pain those innocent and defenseless living beings felt in those horrific moments... Jesus... What kind of ''human'' would torture them like that for no reason, or just for money? I tell you, that director is either mentally retarded, or he's just a monster with a ''heart'' of stone. Or both. He truly deserves to get his hands cut off and burn alive.
It contains various horribly barbaric scenes that may cause shock, especially to sensitive persons and children: a real frog is skinned alive, fish are sadistically mutilated and thrown back into the water, a dog is beaten, birds are thrown into the water...
This movie is more than awful; it has to be the worst and most retarded film ever made, along with another one, called ''Cannibal Holocaust'' or something like that. I'll never watch or buy any film directed by this heartless monster. No one should waste their time watching it, especially when there are a lot of TRULY great movies out there, in which all the animal abuse scenes are staged.
Fortunately, only a few people liked this - which is natural, since it's the worst film ever -, so it wasn't successful. I hope this will make the retarded director realize that such unjustified barbaric acts of extreme cruelty and violence to REAL animals will NEVER be praised, and that he will stage all the animal abuse scenes in his following films. I truly believe that everyone receives but what they give! There will be a day when all the retarded and cruel ''humans'' will feel the same pain they once inflicted to others.
This, however, is probably my only ''negative'' review. I usually don't comment on a movie if I dislike it, but this time I just couldn't shut up. I had to speak the truth, because animal abuse must stop!
It contains various horribly barbaric scenes that may cause shock, especially to sensitive persons and children: a real frog is skinned alive, fish are sadistically mutilated and thrown back into the water, a dog is beaten, birds are thrown into the water...
This movie is more than awful; it has to be the worst and most retarded film ever made, along with another one, called ''Cannibal Holocaust'' or something like that. I'll never watch or buy any film directed by this heartless monster. No one should waste their time watching it, especially when there are a lot of TRULY great movies out there, in which all the animal abuse scenes are staged.
Fortunately, only a few people liked this - which is natural, since it's the worst film ever -, so it wasn't successful. I hope this will make the retarded director realize that such unjustified barbaric acts of extreme cruelty and violence to REAL animals will NEVER be praised, and that he will stage all the animal abuse scenes in his following films. I truly believe that everyone receives but what they give! There will be a day when all the retarded and cruel ''humans'' will feel the same pain they once inflicted to others.
This, however, is probably my only ''negative'' review. I usually don't comment on a movie if I dislike it, but this time I just couldn't shut up. I had to speak the truth, because animal abuse must stop!
Beautiful, Striking, Unexpected
EdgarST20 January 2007
I have not seen many remarkable motion pictures in the last few years. I may not be exposed to enough new and original creations, since Panama is not the best city to go to the cinema, monopolized by American mainstream productions. Through a fan of Asian cinema, I have lately watched a few films from Japan, China and South Korea that have really impressed me. On top of the list I place South Korean Ki-duk Kim's beautiful tale "Seom", a metaphor of an erotic obsession and gender submission, which in a way reminded me of Nagisa Oshima's "Aï no corrida". But while Oshima opted for a naturalistic representation of sex to narrate a true story, Kim's parable is frequently approached from a distance, with his characters' physicality and motivations subtly emerging from their actions and their placing in the beautiful fishing resort where all the story takes place. When Kim does get closer... well, you better be on guard, although the sadistic elements of the story make it more fascinating. "The Isle"'s last images are among the most striking (and unexpected) I've seen in decades. Highly recommended.
A meandering movie full of symbolism.
Patuquitos12 January 2005
I confess I was expecting a lot more from this movie, but overall, you cannot deny that it's a very good work. The pace of the film adjusts precisely to the surrounding, and the actors performances fit smoothly. The main virtue of 'The Island' is its global feel: nothing stands against anything. You just like the concept or not.
And what about the concept? Well, if you like metaphoric storytelling you've got plenty here. Every five minutes there's an allegory. Fortunately, they don't get in the way of the story. Not until the very end, which is one of the reasons I'm subtracting points from the movie score. Another one is the blatant underdevelopment of the first stage of the two main characters' relationship. It hadn't even started when it was already ending. It takes away so much power from the film... To end with the shortcomings, I felt the movie wandered quite frequently, not knowing which happenings to focus on. During those moments, the director drops on us a little more... you guess it... symbolism.
Nonetheless, the fancy visuals, the good photography and the powerful images are truly remarkable, conforming the main reason for watching this film: the lovely mini-world in which the story takes place and the way it is shown, resorting to violence if necessary. The hook scenes would be out of place in any other movie, but they fit here. Are they gruesome? Not as half as people might have told you. It's nothing you have to turn away your head from the screen.
To me, it looks solid, but I have the feeling it could have been much more too.
RATING: 6.8
And what about the concept? Well, if you like metaphoric storytelling you've got plenty here. Every five minutes there's an allegory. Fortunately, they don't get in the way of the story. Not until the very end, which is one of the reasons I'm subtracting points from the movie score. Another one is the blatant underdevelopment of the first stage of the two main characters' relationship. It hadn't even started when it was already ending. It takes away so much power from the film... To end with the shortcomings, I felt the movie wandered quite frequently, not knowing which happenings to focus on. During those moments, the director drops on us a little more... you guess it... symbolism.
Nonetheless, the fancy visuals, the good photography and the powerful images are truly remarkable, conforming the main reason for watching this film: the lovely mini-world in which the story takes place and the way it is shown, resorting to violence if necessary. The hook scenes would be out of place in any other movie, but they fit here. Are they gruesome? Not as half as people might have told you. It's nothing you have to turn away your head from the screen.
To me, it looks solid, but I have the feeling it could have been much more too.
RATING: 6.8
What was Kim thinking?
markbeardslee17 February 2007
Is this the same Kim Ki Duk who directed the poignant, life-spanning testimonial of "Spring, Summer, Fall, Winter and Spring"? The same Kim Ki Duk who directed the exquisite, nearly silent, heartbreaking longing of "3 Iron"? The same Kim Ki Duk who dazzled us with the staggering tragedy of "The Coast Guard" and made us squirm about the ugliness of nonchalant teenage prostitution before returning to his almost patented nature motif to allow us all (characters and viewers alike) to experience redemption in "Samaritan Girl"? I just cannot seem to find him in this film.
Oh, sure, Kim's nature motif is still present. The film takes place entirely on a lake surrounded by mountains and on fishing floats resting placidly on the surface of calm waters. Yes, it's Kim Ki Duk, all right. Kim even describes the film as "beautiful" in an interview included in the DVD's special features. But I'm not sure anymore what that means after viewing this putrescent presentation.
What is beautiful about angry, potty-mouthed prostitutes, lustful, violent and potty-mouthed fishermen, a covetous mute merchant, explicit animal torture, sequences of self-mutilation and a pace that swings nauseatingly between bestial carnality and mindless brutality? These are the only elements of humanity that present themselves in this utterly confounding and ultimately pointless film. If it is based on a fable or intended as a parable or is meant to be symbolic of something greater, this reviewer is unfamiliar with the source material. It has been favorably compared to "Audition" by Japanese director Takashi Miike (much to Kim's satisfaction), but aside from some astonishingly good performances, especially given what they had to work with, by lead actors Seo Jung and Kim Yoo Suk, I find little reason to recommend this film. I have not seen "Audition," but I doubt it would alter in any way my view of "The Isle." Its violence is pornographic and senselessly sadistic. Its sex is not pornographic, but passionless and masochistic. Characters behave on irritating impulse because there is no plot. Its point is either non-existent or, I will admit, lost amidst Korean cultural quirks that I fail to understand.
The only beauty is in the cinematography, which is classic Kim: fog-shrouded boats lapping slowly across a serene lake, mountainous terrain dominating the background, and an imaginative and playful use of color. At times it seems as if viewers are locked in a big Kim Ki Duk romper room. Some touches, like the mysterious and seductive mute merchant played by Jung and the pleasantly odd use of motorbikes, are intriguing. But as a film, this effort is downright confusing and, in the end, offensive to the senses, not necessarily to sensibilities. One hopes that Kim will leave this kind of film-making in the trash heap of his past, for we know he is capable of so much more.
Oh, sure, Kim's nature motif is still present. The film takes place entirely on a lake surrounded by mountains and on fishing floats resting placidly on the surface of calm waters. Yes, it's Kim Ki Duk, all right. Kim even describes the film as "beautiful" in an interview included in the DVD's special features. But I'm not sure anymore what that means after viewing this putrescent presentation.
What is beautiful about angry, potty-mouthed prostitutes, lustful, violent and potty-mouthed fishermen, a covetous mute merchant, explicit animal torture, sequences of self-mutilation and a pace that swings nauseatingly between bestial carnality and mindless brutality? These are the only elements of humanity that present themselves in this utterly confounding and ultimately pointless film. If it is based on a fable or intended as a parable or is meant to be symbolic of something greater, this reviewer is unfamiliar with the source material. It has been favorably compared to "Audition" by Japanese director Takashi Miike (much to Kim's satisfaction), but aside from some astonishingly good performances, especially given what they had to work with, by lead actors Seo Jung and Kim Yoo Suk, I find little reason to recommend this film. I have not seen "Audition," but I doubt it would alter in any way my view of "The Isle." Its violence is pornographic and senselessly sadistic. Its sex is not pornographic, but passionless and masochistic. Characters behave on irritating impulse because there is no plot. Its point is either non-existent or, I will admit, lost amidst Korean cultural quirks that I fail to understand.
The only beauty is in the cinematography, which is classic Kim: fog-shrouded boats lapping slowly across a serene lake, mountainous terrain dominating the background, and an imaginative and playful use of color. At times it seems as if viewers are locked in a big Kim Ki Duk romper room. Some touches, like the mysterious and seductive mute merchant played by Jung and the pleasantly odd use of motorbikes, are intriguing. But as a film, this effort is downright confusing and, in the end, offensive to the senses, not necessarily to sensibilities. One hopes that Kim will leave this kind of film-making in the trash heap of his past, for we know he is capable of so much more.
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