Guta-yubalja-deul

One might think that soon a time will come for Asian cinema to reassess its trademark Extreme label. Or that a new approximation of this quality will emerge on the receiving it, critical end. A Bloody Aria is not yet at this stage, it applies violence with straightforward honesty and typical for the Korean cinema consideration of social themes. And it never really discusses implications that emerge.

It basks in social relevance that sadly remains restricted to its Korean context. And despite handling some more general themes- cyclical violence, bullying etc. it never unveils itself as a film with a broader appeal. Most likely then, it will connect with enthusiasts of the Korean cinema that will find some stimuli in observing how portrayal of youth degenerated since seminal Attack the Gas Station (Kim Sang-Jin, 1999). This particular film makes for a disturbing comparison of how the violence has escalated in Korea's national cinema, to accommodate both the expectations of the market and relevant changes in the society.

To equal extent A Bloody Aria can be dissected together with British Eden Lake (Watkins, 2008) or French They (Moreau, Palud, 2006). It emerges as a film less entertaining and more restrained but ultimately more wholeheartedly committed to the comment it makes. Tempo is interrupted by lengthy conversations that intentionally build up the threat but ultimately fail to do so. No sustained suspense ever emerges, consumed by the ambiguity of the film's villains. It collapses as a thriller as it struggles to maintain its, overriding genre schematics, devotion to keen observation of the intensifying power struggle. It consistently reminds the audience to look past the physical facades and our expectations build upon impeccable acting of the entire cast.

Unfortunately, unlike many Korean efforts from the recent past Won Shin-yeon's film fails to captivate the audience with any particular sense of style. Mobile, quasi documentary camera is dull and where one would expect some visual flair it serves images that are unimpressive and (perhaps deliberately) annoyingly overexposed. Disconnection of imagery, themes and musical inclinations contained in the title are disappointing since more grounded sense of style could reward the audience for awkward pacing.

Verdict: Korean Funny Games it isn't. Neither is it a particularly explicit example of Asian extreme. It's a slow burning amalgam of familiar social and cinematic motifs that manages however to radiate with some unique identity. Not as relevant outside of its national targets of critique it is still interesting to watch for Won Shin-yeon's own take on material recognizable from both Haneke and realist horror in the spirit of Deliverance.

I try not to give synopsis's because that can be easily read when you first read the IMDb page. I just like to share my experience and thoughts on the film.

This film had some interesting layers you really don't see coming. You feel something Is connecting everything but it's concealed so well and yet so blatantly by the direction and writing that when it comes together it's rather satisfying.

Main theme that is prevalent is the assertion of dominance; i.e. bullying. While this film avoids overly graphic scenes; there is still some cringeworthy moments. The violence portrayed in this movie while at moments would be deemed unnecessary it is only moments and is not persistent. It's a sad story and an interesting one.

The viewer won't find out what really is going on in this movie until the very end which definitely keeps you engrossed because the film quality was poor and can lead to distraction. I feel like this may be a nice little cult film from South Korea that should be viewed just a little bit more because the content of the story was very moving. Give this one a shot.

A greatly fun movie with twists and turns. Had a good sense of when to turn serious and when to be funny. Not a dull moment within it.

"Director Won takes a refreshingly different approach to what could have been a standard tale of city folks menaced by crazy bumpkins, mainly in that he serves up an off-key set of characters, none of whom really fit into the traditional roles viewers are used to. The film does not feature an obvious protagonist, or even an anti-hero, and although some of the characters are more vicious than others, it gradually becomes clear that all are victims in one way or another. Despite this, the characters are well drawn, and the viewer learns about them through a series of revelations which unfold in a surprising, though believable manner.

None of the relationships in the film are straightforward, with some of them emerging as being very twisted, and through this, Won ventures into some fairly complex moral territory, and explores the effects of institutions such as the army. The film is chiefly concerned with themes of bullying, which it actually deals with in quite a subtle manner and on several levels, dealing with both the aggressors and victims in a fluid way which eschews stereotyping or easy answers. The lines between right and wrong are not so much blurred as thrown out of the window, as the characters gradually become more and more animalistic, yet at the same time, somehow more human, giving the proceedings an almost tragic feel."

This may sound like a predictable scenario, but this plot nudges the viewer in the wrong direction at every turn. Director Won Shin-young takes the well-known basic elements of the horror genre and twists them even further, setting us up for something great. The key is the disorienting sense of humor that accompanies even the most violent moments. Just as Bong-young teases his hapless victims, Won Shin-young plays with the audience, alternating moments of tension with humorous releases, making us feel both pleasantly and uncomfortably inappropriate, and making us feel uncomfortable. I'm playing cat and mouse with him. Because in the end, it comes down to who can be the most proud. The film's defining pastoral and animal images (a soaring bird of prey in the opening shot, or a later scene in which an insensitive thug slaughters another bird of prey with a baseball bat) hint at an important truth: is showing. Obey no one else as a brutal natural law. Most disturbingly, the final scene suggests that the characters who should best represent order and civilization may also be the most barbaric.