Samaritana

Will I ever see a Kim Ki-duk film I don't like? That's looking doubtful, now that I've watched SPRING, SUMMER, AUTUMN, WINTER...AND SPRING, THE ISLE, and BAD GUY, and loved all of them. Like Herzog, he's an art-house director who really appeals me in the way he deals with dark and dismal themes that would be grim in the hands of a normal director but feel somehow oddly uplifting when he tackles the material. Perhaps it's because his films are so beautifully shot, I don't know.

SAMARITAN GIRL sees the director returning to the subject of prostitution after the unforgettable BAD GUY. A couple of teenage girls make extra cash by hooking, until tragedy strikes. What follows is almost impossible to predict, as the story has an episodic structure, although the vigilante bit is undoubtedly my favourite part: ferocious, powerhouse film-making. As is usual for a Kim Ki-duk film, the acting is exemplary and the mood sombre and moving; this is an expose of the human condition, warts and all, for better or worse, and it contains a level of raw emotion that few directors achieve. The ending is excellent in its sense of quiet, contemplative reflection.

Director Kim Ki-Duk gives us insight about teenage prostitution in Korea, but is this really a movie about prostitution? Looking deeper than the visual settings, I found that the movie hits more emotionally about relationships, between friends and family. The movie is basically broken into two parts. Part one is about Jae-Young, an amateur prostitute and her best friend Yeo-Jin, her manager. The second part is about Yeo-Jin and her father. Each part has its tense moments, and the director, pretty much does a good job telling the story and showing the audience: tragedy and closeness. There's not a lot of sex or violence like typical prostitution movies, but then again it is not about prostitution, it only uses it as a medium to get the point across. Happy viewing!

I have to say this might be Kim Ki-Duks finest work so far. Ever since his debut he has produced some of the most interesting movies in asia cinema, especially. The Isle, Bad Guy, Spring, Summer, Fall, Winter... and Spring and now Samaria.

The movie moves in a very beautiful pace with great camera work and a beautiful soundtrack. The main actress does a very convincing performance, especially considering her age and that this is her debut. The plot itself is also very strong, with probably a mainly symbolic story. But a very beautiful story nevertheless. And the ending is just "perfect".

Kim Ki-duk has really improved his visual style since his debut, and I can't wait to see what he has in store for us in the future.

To say that Kim Ki Duk is a great director would be a major artistic blunder as well as an understatement which might put a veil on his talent.The best tribute that can be paid to the new master of South Korean cinema Kim Ki Duk is to say that he is one of the most informed directors working in the realm of contemporary world cinema.Just to give a few examples:whether it is mention of the paintings by Egon Schiele or the description about an ancient Indian prostitute called Vasumitra who lived during the time of Buddha.These are some of the details (may be minor to some people)whose inclusion happens under the proper care of Kim Ki Duk."Samaria" is about the scourge of teenage prostitution which is inflicting umpteen emotional wounds in the lives of Korean families. As this is a taboo topic the reaction of Korean audience has not been very favorable.Most of the positive reactions have come from western audiences who have a mature thinking as far as their handling is concerned.Although there is good acting by the two leading ladies,it is the role played by the cop father of one of them who grabs all the attention.Samaria is not a moral story but a tale of human responsibility. Its message is loud and clear : do not do to others what you do not wish to happen for yourself.

This is undeniably a work of considerable formal rigor. Director Kim Ki-Duk uses deceptively simple but tellingly precise visual compositions to narrate his seemingly simple tale of loss of innocence, guilt and redemption. Initially everything seems transparent and self-evident in the story until intangible elements slowly seep into the structure causing ambiguity and bringing emotional turmoil that remains mostly subdued. The main plot premise, however, might seem a bit exaggerated or overblown to someone who cannot easily accept the depicted motivations for the actions of the two main characters (the girl and its father), especially considering the scarcity of social or psychological signifiers. Consequently, the movie works better on a symbolic than dramatic level, as its wonderfully concise final scene demonstrates. A must see.