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.

Kim ki duk gets his magic from his mysterious characters, and this is another example of that. I cannot guess whats going on in the character's mind and what they will do next.

Ki-Duk Kim has done it again. The South Korean writer/director is best known universally through his 2003 minimalist, Buddhism-inspired fable 'Spring, Summer, Fall, Winter... and Spring' and once again he demonstrates that with very minimal resources he can create a story at once complex and compelling in this new film BREATH. Not only are his ideas for film unique in the technical aspects, his concept of telling a story is always surprisingly subtle.

Jang Ji (Chen Chang) is on death row in a Korean prison for the murder of his family. He shares the bleak cell with three other prisoners, one of whom (In-Hyeong Gang) is young and obviously in love with and is very possessive of Jian Ji. Jian Ji attempts suicide and the media focuses on the transfer of the prisoner to the hospital where he barely survives his self- inflicted stab wound to the throat. One woman on the outside, Yeon (Zia - or Ji-a Park) watches the coverage on the media in silence (: she is married to a man (Jung-Woo Ha) who apparently is having an extramarital affair and pays little attention to her, finding Yeon's obsession with the prisoner 's exposure in the media this foolish and repulsive. They have a young daughter who observes the lack of interaction between her parents. Yeon is a sculptor and quietly works at her art, watching the coverage of Jian-Ji's plight. Something in her relates to the prisoner and she begins making trips to the prison where she sets up the visitor room with wall photographs, paintings and flower props that look like Spring. It is in this atmosphere that she meets the handcuffed Jian Ji and there is obvious exchanged compassion between them. She returns to the prison, each time to visit Jian Ji in a room she has transformed to Summer and to Autumn and with each visit she sings a seasonal song of love to him. The relationship becomes physical: of note, in a room behind one way glass a prison official (Ki-duk Kim himself, as though he were directing the romance) observes the trysts. Yeon finds evidence, a broach, of her husband's affair and confronts him: the husband explores the reason Yeon visits the prison and follows her, observing her passion behind the one way mirror. The husband parts with his lover, demanding Yeon do the same, and the last visit to the prison is a Winter scene where Jian-Ji and Yeon consummate their passion. The ending is a surprise to all and sharing that would spoil the effect of the film: the key is in the title.

Ki-Duk Kim weaves so many subliminal aspects into this film, a technique few other directors can match. He explores alienation, contemporary relationships between husbands and wives, prison tensions that result in other kinds of relationships, and again uses the cycle of season changes to mark the steps of his story. His cast is small and incredibly fine. This is a very small film with a very big message. It is a gem.

Grady Harp

In the old silent movies, captions were needed even as the actors did their best to convey emotions, often (by today's standards) way overdoing it. The actors in "Breath" skillfully convey practically all we need to know about what is going on in their internal lives, without dialogue. There is, in fact dialogue--not a lot, just exactly enough. This is a daring and brilliant film, and, sorry to say, one that doesn't seem to appeal to many people. I find the film quite transparent, but reviewers seem stymied by the odd situation (a woman in a broken marriage goes to visit a stranger on death row to offer him comfort). What is so difficult about this? She feels as if she is dying so she reaches out to someone else who is dying, even before his sentence is carried out. DUH. How she reaches out is quirky; not for a moment did my attention flag. The relationship motif is enhanced by what transpires in the prison cell of the condemned man, which he shares with three other men, one of whom is in love with him. This is not a film for those who want everything laid out for them so that they don't have to participate in elucidating the meaning. However, for those who are willing to put together the few pieces of the puzzle in this spare and gorgeous film, the effort will be rewarding. I found the film deeply touching, painful, beautiful, and haunting.