Time, 2006

On the surface, Time is perhaps Kim Ki-duk’s most brash, confrontational, and bituminous film since The Isle, an admirably crafted – and unexpectedly refreshing – return to his more familiar gothic, cringingly blunt, provocateur form after immersing in such aesthetically impeccable, but slight romanticized allegories riddled with obtuse, pseudo Zen mysticism and disjointed orientalism. Ostensibly […]

The Bow, 2005

One aspect of Kim Ki-duk’s filmmaking that I continue to find problematic is his penchant for introducing elements of pseudo-mythical orientalism in his films: a kind of exoticized mélange of stereotypical, yin-yang images of Eastern culture that would have audiences believe that when a Buddhist priest attains enlightenment, he also acquires a certain level of […]