Real Fiction

The 2nd striking feature I have seen by maverick Korean auteur, Kim Ki-duk certainly proved no less abrasively intriguing than 'Bad Guy'. 'Real Fiction' is a fascinatingly twisted downward spiralling drama about a beleaguered street artist Na (Ju Jin-mo). A docile, morose, interior dwelling individual whose bruising altercations with violent street thugs, and mocking, abusive customers have become distressingly frequent events. After a skewed encounter with a strange, near-silent camcorder woman, the once docile artist snaps, his long-simmering humiliations fatefully boiling into incandescent rage!

Na relentlessly tracks down his oppressors, seemingly oblivious to the fact that the catalyst for his brutal catharsis has been secretly filming Na's increasingly grisly acts of bloody retribution! While gifted writer/director, Kim Ki-duk's 'Real Fiction' plays out in real-time, nervily captured with a jerky, pseudo-documentary style realism, it also maintains a surreal, deliciously off-key atmosphere. There are unsettling interludes when his desperately dismal world seems positively unreal! 'Real Fiction' exudes a palpably malign energy, not quite a fully fledged fever dream, but one observes life through a wickedly warped lens. Not the easiest of viewings, but I don't believe that's what the director intended Real Fiction to be, and I rewardingly pondered upon this singularly warped narrative long after the credits rolled. The performances were truly exemplary across the board, and I really enjoyed the intense score by, Jeon Sang-yun which, for me at least, disturbingly recalled the similarly strident soundtrack to, Jorg Buttgereit's Nekromantik!

Real Fiction, by Kim Ki-duk, presents itself as a raw urban experiment, with improvised scenes aiming to reflect the mental instability of its protagonist.

However, the execution is clumsy and repetitive, quickly sinking into tedium. The film becomes boring, trapped in its own pretentiousness and lacking visual appeal. It only partially succeeds in portraying certain aspects of a disturbed mind on the verge of collapse. Beyond that, the film gets lost in failed formal choices and a narrative that struggles to hold together.

Ultimately, a work best avoided, leaving little to no lasting impression.

My rating: **

We follow an artist frustrated with the wrongs others have caused him, not knowing who his vengeance might be coming for next.

This is my second Kim Ki-duk film, 3-iron being my first of his films. I enjoyed this one much more, although 3-Iron was highly rated in comparison. This film didn't lose me in the middle like 3- Iron did. It keep the suspense a lot tighter with comic breaks between the gore that kept me waiting for the next moment of vengeance to come. Good watch for some Oldboy lovers.

The violence in this film is something you may see in a Brian de Palmas film. Cutting away before showing the result of the main character's bloody vengeance. Leaving the viewer to wonder who might have escaped his retaliations.

You won't be enticed into watching this film with its cinematography but the way it is shot is propriety to the mood of the film. That doesn't mean it's bad, just not flashy.

The motivation of the main character is much more satisfying than that of the movie Saw but the ending doesn't hit as strong. Taste of Cherry anyone.

Another fine film from Kim Ki-duk, although not in the same league as his two masterpieces The Isle and Bad Guy.

At its heart a simple revenge tale, it's elevated by an interesting psychological aspect that prevents it from being just another low-budget shocker. The protagonist is a put-upon street artist who meets an alternate version of himself who jolts him into action and convinces him to exact revenge on those who have wronged him.

Or he's the alternate version of a reclusive pseudo-guru who uses him to exact revenge on his enemies. It's not clear, but I'd bet on the former. The acting is very good all round, especially from the lead, and there are numerous comic scenes that don't intrude, but serve to lighten the potentially very dark drama. Worth a look.

Another fascinating and frustrating film from Kim Ki-Duk. He reminds of Lars Von Trier in a lot of ways, in that they both have a lot of the same weaknesses along with being remarkable filmmakers. The thing that bothers me the most about both of them is the degree to which their films obviously serve as allegories. In this film in particular (like Von Trier with Dogville) this aspect is particularly emphasized to a debilitating extent. Also, it's worth noting that both filmmakers seem to have a lot of the same questionable ideas when it comes to women, but that's somewhat besides the point.

As Kim Ki-Duk's films go, this one is actually one of the more obviously ambitious and noteworthy. The whole thing was shot in real time, with a bunch of cameras running simultaneously (including one digital camera that is incorporated into the story itself, to alternately ingenious and irritating effect). Objectively, this is one of the most promising things the filmmaker has attempted, although the method is less noticeable in the final film than it perhapse should have been. Still, in the moments where the technique is used effectively (particularly in scenes shot in public places), it proves to be one of the most admirable things Kim Ki-Duk has done.

On a whole though, the film still has a fair share of flaws. Along with the aforementioned problems i have with the un-reality of his films, Kim Ki-Duk again proves he is pretty much worthless when it comes to using music. To begin with, the film (as is the case with many of his) has awful sounding, cheap music. But even then, in one scene in particular Kim Ki-Duk has the music come in at a terrible moment that ruins what could have been a very emotional scene. In other ways as well, the (understandable) low-budgetness of the project becomes glaringly obvious in a way it shouldn't, particularly in the way in which the film deals with violence.

That said, as always, there is still enough genuine talent and obvious artistic vision that shines through in his work to make me not only not dismiss Kim Ki-Duk, but make me consider him one of the most interesting filmmakers working today. Even if, on a whole, the film falls short of it's ambitions (it seemed to be attempting a lot of what Man Bites Dog had already done wonderfully), it's still a very admirable and interesting undertaking.