Souffle

Filmmaker Kim Ki-duk, is widely known for his films that offer loads of violence. He has been Controversies favorite child. But, in his 2007 flick 'Soom' aka 'Breath', he tries his hand in an awkward, yet charming love-story, that hardly offers any bloodshed.

'Soom' is about love, redemption, sadness & lies. The lead characters share an outstanding novelty, when-ever they meet eye to eye. It's a tale of a notorious condemned criminal & a housewife. The emotions they discover, the love that is build, comes out brilliantly, at most parts.

The only shortcoming, is it's finale. It's weird, and leaves no impact. This 80-minute feature, offers 60-minutes of pure genius, but falters in it's final 20-minutes.

Kim Ki-duk delivers as a filmmaker. He has directed the film with complete understanding. The Cinematography is striking. The performances by all of the actors, are memorable.

On the whole, A film that is Worth-Watching, without a shed of doubt. It's so different, and so amusing at times, you can't help but like this attempt.

South Korean author Kim Ki Duk is famous for the manner in which he takes an obscure idea to weave a convincing story around it.He is so good at his craft that even highly improbable ideas are transformed into remarkably good films which not only provide wholesome entertain but also make potent cultural statements about South Korean society.By making such socially relevant films,he reveals what kind of people South Koreans are.This is also the case with Kim Ki Duk's film Soom/Breath.It is a different matter if people start to take to heart the behavior of South Korean people based on his films.This is a film where viewers get to see a frustrated wife wearing her heart on her sleeve.After critically acclaimed "Bin Jip",this is the second film by Kim Ki Duk which talks about a neglected wife with a highly unusual end.A positive thing about this film is that despite initial differences matters are sorted amicably between a bickering couple.Tit for tat seems to be the film's message as Kim Ki Duk suggests that if a man cheats his wife, there are high chances that she would also do the same.

In Dancer in The Dark, Lars von Trier told the story of a girl who could create such a vivid interior life that it could soar over any misfortune, even death. In Breath, Director Ki-duk Kim tells the story of a girl who tries to transfer a similarly strong vision to a condemned man on death row.

What do you do to raise your spirits? Listen to a song? Walk through the countryside? Go on holiday somewhere nice? Take any of these things, and they are heightened if love and desire are added.

When I was seventeen, I used to walk five miles every night. Just to hold my sweetheart's hand and kiss her goodnight. Even in winter, I felt as if I were walking on air. Sounds kinda stupid, looking back. Especially as it didn't last. But those miles disappeared in seconds.

Breath opens unremarkably. Jang Jin is on death row and attempts suicide by sharpening a toothbrush and stabbing himself with it. (He's played by Chen Chang, the sexy outlaw suitor to Zhang Ziyi in Crouching Tiger, Hidden Dragon.) The incident makes the evening TV news.

Yeon's husband is having an affair. He tells her to get out and meet people instead of staying at home making sculptures. On an impulse, she goes to visit Jang Jin. On a subsequent visit, she decorates the visiting room with blown-up pictures of spring, fills the area with artificial flowers, and sings to him. She wears a summer dress even though it is mid-winter. Yeon's poetry of life has a profound effect on Jang Jin. They fall passionately in love. But trouble brews from Jang Jin's jealous cellmates and Yeon's violent husband.

When Breath started, I admit I found it less than engaging. But suddenly these scenes that Yeon constructs for Jang Jin explode with a powerful emotional force. Have you ever been on one of those simulator machines where you step in and it starts moving about, replicating sensations that match the screen in front of you? It's that sudden. One second you are watching an ordinary prison drama, interspersed with inconsequential domestic stuff. Then Wham! You are suddenly catapulted, knocked sideways, jolted out of your seat. And that, of course, is a pale reflection of the effect we realise it must be having on Jang Jin. We start living for these intense (yet emotionally draining) moments in the film, just as Jang Jin does.

Throughout precisely architectured cinematography, Ki-duk Kim weaves a poetry of life and death. "We are already crazy inmates on death row. Until we can breathe no more." Contrasts between the two protagonists' lives outside the meeting room and what goes on inside are mirrored in verbal contrasts where one person will speak and the other stays mute. Breathing in and breathing out. Locked in a passionate kiss. Or holding one's breath underwater.

Breath also has a bitter edge. Is she preparing him for the moment when he takes his last breath? (South Korea is one of the very few fully developed democracies where the death penalty is still allowed.) Don't expect any nice redemptive ending. Like Dancer in The Dark, Breath mostly gets darker. "Even though I call with sorrow, Only the white snow falls." It may also be too laboured – even artificial – for some audiences.

Breath is an icy, chilling love story. It looks at a bond that goes beyond the simplicities of life and death. And it's as finely chiselled as a piece of sculpture. Some scenes contain a rare combination of animal intensity and poetic tenderness. The whole unfolds as a dazzling testament to the artistry of Ki-duk Kim.

It's no secret that I have little affection with Korean cinema. It's just not my cup of tea. But among the rubble of popular Korean cinema there's a true cineast pumping out brilliant cinema at a dazzling rate. Kim Ki-duk is a regular art-house favorite and rightfully so. This weekend I had the pleasure of watching his latest effort on the big screen. screen cap from breath

So far, I've seen all of Ki-duk's films. Over the years he's made little changes to his success formula, only visually his films have become a lot more mature. Breath continues this tradition, ignoring the little misstep of his previous film Shi Gan. Ki-duk reaches back to his "quiet cinema" and with success.

Breath has it all. Troubled characters, little dialog, rough around the edges and strange happenings. But underneath that barren surface lies a more subtle, warm interior. Not exactly new, but it's the first time Ki-duk plays with this emotion so openly and the change of heart is notable throughout the film.

At its core, Breath tells the story of four broken characters. No director that is more able to create a setup where unlikeable characters can win the sympathy of an audience. Because not a single one of the characters in Breath is free from sin. The prisoner killed his wife and kid, his fellow prisoner hurts him because he can't express his love, the mother cheats on her husband with the prisoner and the husband mistreats his own wife and has a flirt on the side. And thus starts a story of a love between four people.

Ki-duk brings his characters alive with rather unknown actor, though they are really some of the best modern Asian cinema has to offer. Especially Chen Chang bring a lot to this film, adding yet another strong film to his impressive list of acting jobs. Chang's wife is also very strong in her role, hardly speaking but playing her emotions instead of telling them. Class-A stuff. screen cap from breath

Visually, Ki-duk is still improving with each film. While his earlier films were too unfinished to be considered visually impressive, his newer work has this delicate touch that enters every shot. Ki-duk's timing is also improving, and his eye for interesting compositions is still functioning rather well. The film is never absolutely stunning but the quiet, subtle images bear well with the rest. He matches his visuals with a soundtrack that enhances this delicate feeling.

As an interesting surprise, Ki-duk inserts several musical intermezzos. He also revives his seasonal structure and couples a song to each season. The happy mood coming from those scenes is in sharp contrast with the actual feelings of the characters. A nice addition that reliefs, but at the same time hurts just as much.

I guess Breath is a little more playful than his previous films overall. There's of course Ki-duk himself playing director behind his screen in prison. It's an interesting extra layer that made me smile when I noticed it. And it leads to a strong scene where he cuts from the love scene in prison to the father and kid playing outside in the snow. I also liked the "acted" musical intermezzos, which add a second level of acting. Beautiful scenes with very contrasting feelings.

Breath is a strong entry in Ki-duk's ever growing list of films, positioning itself among his best work. While progress between his films is slow and his work hardly brings anything new to the table, his unique position in the world of cinema makes this of little importance. He keeps improving himself and Breath illustrates this well. Awesome film, not really my preferred kind of cinema and because of that all the better for making me love this film and its characters. 4.5*/5.0*

Kim Ki Duk knows how to catch you. At the beginning, when you watch this movie (as when you watch other Kim's movies), you need some time...hold your thoughts, don't express your opinion yet, just wait. After a few minutes, you'll find yourself in another world, watching single details in the images, discovering colors, following characters you already love, and feel related to. "Breath" doesn't make any exception: the wife and the condemned become your friends, or relatives, and you feel their emotions, you are happy, and then sad, and then again happy, and in the end really sad. And you do it with these characters. Be careful, you'll bring them home after the show, and this movie (and its feelings), they wont leave you, for hours.