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Cha Young-goon thinks she's a cyborg. She works in a factory, where the employees all wear bright red and sit in neat, identical rows. One day, she slits her wrist and inserts an electrical cable into the wound in an attempt to recharge herself. Unsurprisingly, she is committed to a mental hospital.

The hospital is coloured in a similar stylistic vein, with lovely pastel shades of primary colours. It's all very different from writer/director's Park Chan-wook's previous films; his bleak Sympathy for Mr. Vengeance fades into black and white half way through the film. I'm a Cyborg, But That's OK is definitely a radical departure, although it does retain Park's visual quirkiness.

Young-goon has Cher-like hair, and wide, innocent eyes; we instantly fall in love with her. Once committed, she begins talking to vending machines and strip lights, using her grandmother's dentures. She also refuses to eat, preferring instead to lick batteries. This attracts the attention of mask-wearing Park Il-sun, fellow patient and kleptomaniac. But Il-sun is not your average, run-of-the-mill pickpocket; he steals the intangible, such as memories, table tennis skill, or politeness.

It is not long before Young-goon enlists Il-sun to steal her sympathy. You see, Young-goon needs to rescue her grandmother, who has also been committed, and kill the doctors holding her prisoner. But she can't stop worrying that her victims have grandmothers of their own. And, as we all know, sympathy is one of the seven deadly robotic sins. (The others include thankfulness, hesitation, and useless daydreaming.) It's all very strange. Refreshingly strange, in fact. Two odd highlights are a yodelling interlude, and an extended Peckinpah-style bloodbath, complete with finger guns. The unusual plot and set pieces are complemented by an equally unusual look. Park's idiosyncratic visual flair translates well from the darkness and violence of his vengeance trilogy, to the lighter world of this romantic comedy. The mental hospital looks like no hospital I've ever seen, with bright green padded rooms, deep red maintenance corridors, and even a hiccupping grandfather clock. The CGI, whether due to budget constraints or artistic choice, has that artificial quality seen all too often, but here it adds to the films carefully crafted aesthetic. It's almost as if we're seeing the hospital through the eyes of the patients; everything seems not quite real. Or perhaps too real.

There is a shaky start, though. Throughout the first half of the film, as we are amused by Young-goon's robotic shenanigans, we are also distanced from her. I'm a Cyborg's charming eccentricities threaten to overwhelm the proceedings, bury the characters in their own strangeness. Thankfully, the really quite genuine relationship between Young-goon and Il-sun injects some much needed humanity, and as the film progresses, we begin to learn more of, and sympathise with, Young-goon's plight.

I'm a Cyborg is one of those rare and welcome films that you cannot help but smile through. Young-goon's innocent eyes, the hospital's pastel-coloured walls, the glorious flights of fancy; it all makes for one of the most charming, and definitely the oddest, romantic comedy I have seen in a long time. Odd in the good way, though.

I have to say, I really don't see where all the dislike and criticisms come from. Granted, Cyborg is a far different film from all of Park's other works, and especially in the world of romantic comedies falls into the really freaking weird category, but I found it to be really entertaining. It was very sweet, but in a good way. No excessive cuteness, no magical cure to being crazy. The crazy people are crazy, and that ain't gonna change anytime soon. The cinematography and visuals were great. I really loved the set design of the hospital. And all of the side characters were a great cast of crazies. I have not watched a great deal of Korean cinema, and have never seen the leads in anything before. I live in Korea, so I'm very aware of Rain (or Be, as its pronounced here), but I thought that both pulled off their rolls very well, especially the girl. If you are looking for something fun, light hearted and a little bizarre, check this out. Just know that it is not your normal Park Chan Wook film.

Like all good movies, "I'm a Cyborg" is more than the sum of its plot points. So don't be put off by the synopsis. Normally, the minute I'm hearing "modern fairy tale", "touching love story", or "poetic images", I'll turn tail and run. But when I found out this is by the guy who made "Old Boy", I knew it had to be different. And it is. Think "Angels of the Universe" meets "Twelve Monkeys", packed with visual thrills. The opening sequence is one of the biggest kicks of its kind.Wheels are spinning are gears are grinding in pale translucent green, vaguely reminiscent of x-ray images. It turns out we are observing a Cyborg's inner life, cleverly interwoven with the opening scenes of the actual feature. Before we really understand how Cha (cover girl Su-Jeong Lim) ended up on the funny farm, the camera is gliding downstairs in an impossible dolly shot, smoothly passing through closed doors, down to the asylum's mysterious sub-basement with its candy-colored pipework. In the course of the movie's 105 minutes, Chan-Wook Park takes us from Seoul to the Swiss alps and back again. I say, forget Bollywood. South Korea is the new Hollywood.

I am a big fan of Park Chan-Wook's "Vengeance" trilogy, and though I knew this would be a different beast, I was keen to see it nonetheless. It is essentially the story of two young people with acute mental problems caused by family troubles. The first, Young- Goon, is a girl who believes she is a cyborg, and is sectioned after attempting to recharge while working on a radio manufacture production line. The second is a young man played by the apparently famous Korean singer Rain (I regret to say I can't confirm his celebrity as I know nothing about Korean pop), who is certainly a talented actor based on the evidence here. He believes, and makes other inmates believe, that he can "steal" anything, including their personal traits and characteristics. Young-Goon won't eat because her delusion convinces her that if she does she will break down irreparably, but she is befriended by Il-Sun (Rain) who devotes his energies to coming up with a strategy for getting her to eat. This film contains moments of mad genius, which I won't divulge here, but for all it's flaws it's worth seeing just for the fantasy set-pieces. However, it touches on mawkish sentimentality at times (a condition not previously noted in Park's films), and initially the inhabitants of the sanitarium seem comedic caricatures who are there merely for our voyeuristic amusement. I'm A Cyborg is definitely at it's best when Park indulges his flair for stunning visual sequences and imaginative story-telling. So while I don't rate it as highly as I do his "Vengeance" films, it certainly warrants pride of place in modern Korean cinema.

Have you ever had an out of the body experience? Or a waking dream? One minute you're asleep, having this fantastic dream. Maybe you have to fly across buildings or solve a problem or any weird stuff in this dream. Then you're almost awake, but not quite. You hang on to the dream, not wanting to wake up. Don't you hate it when someone tries to rush you? Hey! Wake up! No - go away - I wanna finish my dream!

I'm a Cyborg, but That's OK reminds you of so many different movies in the first ten minutes. You try to fit it into a box. Hey! It's like so-and-so! But it's not. The vision that director Chan-wook Park presents us with is foreign, so alien to any genre, that our mind is confused. Maybe you have to give up all expectation before you can enjoy it.

Young-goon thinks she is a cyborg. A nice, normal young girl otherwise, that is her only kink. Hello mental institution. She can't eat of course - food makes her ill (really) so she licks batteries of various sorts as other inmates tuck into their dinner. She's lonely, and talks to machines. The drinks dispenser is one of her favourites. But she's not a psycho - as she will point out - "I'm not a psycho: I'm a cyborg."

As inmates go, Young-goon is fairly low maintenance. Most of the anti-social patients are weird beyond belief. But it is a young man called Il-soon who manages to reach out to her where doctors have failed. Il-soon believes all sorts of things - like believing he has the power to steal intangibles from people, such as character, attitudes or habits. His services are soon in demand among the other patients.

Young-goon has some internal conflicts. For cyborgs, there are seven deadly sins, and they give her some problems. The seven deadly sins for a cyborg are:

Sympathy. Sadness. Restlessness. Hesitating. Useless day-dreaming. Feeling guilty. Thankfulness.

Of all these sins, sympathy is the worst.

Interestingly, the inmates are like parts of the body: they compensate for each other's particular shortcomings and have very sane insights into kinds of madness not their own.

When the film becomes a love story, it is not one based on lust and idiocy. The funny farm becomes a parable for a world in which we need to believe in and accept each other's failings. Chan-wook Park has crafted perhaps the most original film of the year and one of the most moving. It comments on the nature of belief, and on a humanity that we are in danger of losing through cleverness. It features colourful characters and scenes that make us gasp. There is enough creativity in I'm a Cyborg, but That's OK for ten films, not just one. Constantly defying expectation, it even manages to treat with respect the question of mental illness (which is used largely as a metaphor or plot device). When we see the pain and suffering of real mental illness, it is clear that Chan-wook Park is not mocking.

I'm a Cyborg, but That's OK takes Chan-wook Park's reputation as a master filmmaker and builds it even further. Having established himself with films of violent realism, it may upset fans of Old Boy and Lady Vengeance. And while I'm a Cyborg, but That's OK is not about hyper-violence and the metaphysics of revenge, the dizzying array of ideas may be more than many audiences can stomach in one sitting. It may just seem so off-the-wall that you lose patience before the story gets going. Which would be a shame.

So maybe take a very deep breath. Make sure your batteries are fully charged. If it doesn't blow you out the cinema - I'm a Cyborg, but That's OK - may just blow your mind.