Pieta (2012)
Director: Ki-duk Kim
Country: South Korea
Runtime:104 minutes
Hired by a loan shark for the payment of debts from customers late, Kang-do behave like a butcher, horribly maiming his victims and spreading death. Until it shows up at his door a woman who says she is the mother and the blame for every crime, regretted having abandoned at birth and left to grow up without love. After it has been subjected to the most terrible trials to make sure he's telling the truth, Kang-do finally accepts the woman, but the fear of losing puts it, for retaliation, in a position to check in which he always kept his victims.
The life, death, money. Kim Ki-duk is a term too, an intruder fatal. The pity is not a trilogy but a sacred figure, which includes only two actants. The money should not have a place in these areas, but has acquired, and is a fallacy that demand justice, or rather, an executioner.
There is no doubt that Mercy is a film about the disproportion. He says in one fell swoop (eye) the image of the lead couple: a giant boy and a little lady, and it confirms that every scene, every nuance. The cruelties of Kang-do is beyond measure, as well as the stupidity of some debtors. I am the endurance of one, the ingenuity of the other, the architecture of revenge. They are, therefore, the decisions in the story and direction: the sex scenes admittedly excessive, the musical emphasis, the use of an actress, Cho Min-soo, the skill out of the ordinary.
Yet, one can not help but feel a overconfidence by the South Korean director, a display of self, which sometimes takes strength to what is happening within the frame, or simply prevents to surprise us. It is a kind, this, that Kim has already ridden and which excels in, but not more enchants. If it were not for the massive amount of irony that has fallen into this eighteenth film, probably more than in any other previous work, the risk would be that of preaching morality to overlap somewhat, as is the kyrie eleison final. "Lord, have mercy."
Saved by irony, Kim gives then, after all, a movie circumscribed and high, partly inspired by his countryman Park Chan-wook, but intimate and dirty, less lyrical and more rooted in the "passions" of this dark time.
Country: South Korea
Runtime:104 minutes
Hired by a loan shark for the payment of debts from customers late, Kang-do behave like a butcher, horribly maiming his victims and spreading death. Until it shows up at his door a woman who says she is the mother and the blame for every crime, regretted having abandoned at birth and left to grow up without love. After it has been subjected to the most terrible trials to make sure he's telling the truth, Kang-do finally accepts the woman, but the fear of losing puts it, for retaliation, in a position to check in which he always kept his victims.
The life, death, money. Kim Ki-duk is a term too, an intruder fatal. The pity is not a trilogy but a sacred figure, which includes only two actants. The money should not have a place in these areas, but has acquired, and is a fallacy that demand justice, or rather, an executioner.
There is no doubt that Mercy is a film about the disproportion. He says in one fell swoop (eye) the image of the lead couple: a giant boy and a little lady, and it confirms that every scene, every nuance. The cruelties of Kang-do is beyond measure, as well as the stupidity of some debtors. I am the endurance of one, the ingenuity of the other, the architecture of revenge. They are, therefore, the decisions in the story and direction: the sex scenes admittedly excessive, the musical emphasis, the use of an actress, Cho Min-soo, the skill out of the ordinary.
Yet, one can not help but feel a overconfidence by the South Korean director, a display of self, which sometimes takes strength to what is happening within the frame, or simply prevents to surprise us. It is a kind, this, that Kim has already ridden and which excels in, but not more enchants. If it were not for the massive amount of irony that has fallen into this eighteenth film, probably more than in any other previous work, the risk would be that of preaching morality to overlap somewhat, as is the kyrie eleison final. "Lord, have mercy."
Saved by irony, Kim gives then, after all, a movie circumscribed and high, partly inspired by his countryman Park Chan-wook, but intimate and dirty, less lyrical and more rooted in the "passions" of this dark time.
No comments:
Post a Comment