Casa Vazia

Watched it two times the past week. In a nutshell - I dare anyone to find a film that is more sober and so light and that at the same time fills you with a deep warmth an and all encompassing feeling of great tenderness. Really.

Its story is of such unbelievable simplicity that at the first sight of such a script you'd wonder how on earth it would be possible to make it into a film - or tell anything with it that goes beyond the script. Add to this the fact that any dialogue almost entirely fails to manifest itself...

But then you forget about Kim Ki-duk! If anyone was born with the eye of the cinematographic magician, it must be him. Despite the fact that I did not like The Isle at all, the photography was utterly unbelievable. Same for Spring, Summer... But then I still thought "well, anyone with reasonable skill can get a good image out of such landscapes/spaces". But none of that here - mainly indoors or in the city - just a guy spending his nights at other unknown people's places while they're away, and in turn repairs stuff and cleans/does the laundry. And STILL the images are nothing less than breathtaking. The light is superb, the framing, everything... Also the storytelling... pacing is perfect - he tells the story with images more than with events. The film actually becomes light as feather, and then lighter. Sublimation. And besides that, he manages to squeeze in some real drama and the occasional laugh. Go figure.

I'm gonna quit here, there's really nothing much more I can add. Do yourself a favour and see this inconspicuous little film that is so profoundly simple and beautiful that you'll be wanting to send me a thank you note afterwards for telling you this.

Originality is a rare commodity at any time, but it is in abundance in Kim ki-Duk's 3-IRON. The title refers to a golf club that is used to drive a ball long distances. In this case, the balls are, ultimately, driven into people with painful results.

A drifter who lives in temporarily vacated houses and apartments repays the owners by repairing appliances and watering plants. He meets a sad, abused woman and a non-verbal connection grows.

The magic is in the detail and the extraordinary cinematic clarity of Kim's style. There is the explosive violence that characterized his early films, but this entry is primarily an engaging character study with an existential bent.

What's truly original is the director's adherence to the way he presents his material. The style is consistent throughout and dialogue is mostly superfluous.

This has more in common with SPRING, SUMMER, FALL, WINTER...THEN SPRING AGAIN than THE ISLE, ADDRESS UNKNOWN or BAD GUY. Though I enjoyed the material, any subtler and Kim might begin to lose the edge that distinguishes him.

Tonally, the film reminded me of aspects of OLD BOY.

I must say that in general I am quite skeptical about Asian movies: I usually find them horrendously boring in the best case, and obnoxiously weird in the worst. In particular the last one, 2046, kept me agonizing in the theater while unconnected images -even though wheel shot and poetical- ran through the screen, so I was pretty scared when I entered the theater this time. Especially after a friend of mine told me it was a dramatic/romantic movie with almost no dialogs. Instead, i was surprised by how charming, touching and pleasant is this movie. The plot is about a guy who enters in empty houses and puts them in order, repairs things, does the washing (manually) and stuff like this. The photography is absolutely awesome and added to the skill of the actors supplies to the almost complete absence of dialogs. We assist to this platonic form of platonic love between the protagonists, while they live their absurd lives as they were the most normal people in the world. The end is a bit mystical and gives a lot of meaning to a movie that could seem nonsense. 9/10

It's hard to mark this movie because it's hard to put it into a category. It is romance, social satire and drama in the same time. This guy breaks into houses and lives inside them like they were his own, while the owners are gone, without actually stealing anything. I don't want to spoil the ending, but I think this is the main pillar of the movie, the idea that one can succeed on living in the world, but out of sight. This is a movie for the true pariah, the one that wants to be left alone, in silence, in his own world.

It is said that the best warrior wins the battles without fighting. If that's true, then Kim Ki-Duk is amongst the best dialog writers ever :) The characters say nothing, but tell a lot.

I think it is a movie worth watching, it's quiet and has some original ideas that can catch your imagination if in the right mood.

The lonely and silent rider Tae-suk (Hee Jae) breaks in empty houses and lives a normal life while the owners are traveling. He does not steal anything and moves from house to house without any loss other than food, and he cleans the houses, provides small repairs or washes some clothes to retribute the hospitality.

When he enters in the house of Sun-hwa (Seung-yeon Lee), he does not see the woman that is wounded in her room after being beaten up on by her abusive husband Min-gyu Lee (Hyuk-ho Kwon). Tae-suk helps the hurt woman and when Min-gyu returns, he hits the husband with golf balls and Sun-hwa leaves her husband with Tae-suk in his motorcycle.

When they break in the house of an old man, they find that the man is dead and Tae-suk provides funeral service for him. However, his son returns and Tae-suk and Sun-hwa are arrested by two abusive police detectives. He is sent to prison and Sun-hwa is forced to return home. But she never forgets him.

"Bin-jip" is a subtle film about a lonely drifter and an abused wife that finds love, empathy and human warmth with him. The story is open to interpretation and here is mine (it is a spoiler – therefore if you have not watched the film yet, do not read):

Tae-suk is murdered by the prison guards when he leaves his cell, and Min-gyu Lee receives a phone call from the police telling that the youngster had been released as a sort of justification for his disappearance. Sun-hwa lives with the "ghost" of the free-spirited Tae-suk as a way to help her to survive to his marriage life.

Maybe I am too simplistic, but that is the way that I have understood this pleasant film. My vote is seven.

Title (Brazil): "Casa Vazia" ("Empty House")