Time

Kim Ki-Duk's latest movie deals with a story set in metropolitan environment. The main characters are fully aware of the speed with which the city breathes and the crowds of people that pass; they attempt to fight time, develop recognizable identities, yet still feel lost in the big place. These thoughts lead the woman character (played by Seong Hyeon-a) to a conclusion that the only way to keep her lover is to not tire the relationship; and for such it is necessary that she undergoes plastic surgery. Her lover doesn't know that; he's forced to live six months without any idea where she's gone to, if she's alive, whether she's dumped him or not and most importantly, if he should keep his heart open to her love and possibly hope for her comeback.

These are heartbreaking moments, but surprisingly the Czech audience took them rather easily; most repeatedly laughed at scenes which are funny, but at the same time raise important question and, for my taste, require much attention paid.

During the six months in which the woman's face is fixing up, the movie centers around her lover and the life he's attempting to live; at that time the movie is floating endlessly, introducing new characters (if I'm not mistaken, all played by the same great actress). It is entertaining but at the same time includes thoughts revolving around existence, recognition, individuality and similar. Eventually both ends meet, with funny yet consequent twist at the end.

Similarly to one of the author's previous movie, 3-Iron, the movie feels like a soft ballad; shots composed with a beautiful sense for color, reflections and composition, but also shaky-cam feeling whenever necessary. Although "Time" is set in a huge city, places are revisited again and memorized on photos, as are the characters. Unusually for Kim Ki-Duk, there is also lots of dialogue included; fortunately enough not only does that not wear out but it's often pretty entertaining.

Summed up, "Time" was a beautiful experience, a movie that completely carried me away. If you're planning on seeing it, do not underestimate the somewhat light appearance; it deals with very important issues, and it deals with them thoroughly. Pay attention and you'll be rewarded big time.

There is something startlingly relevant to this film. The ever increasing lack of identity in the modern world, and the rise of all sorts of abstract selves, from Internet IDs to Social Security numbers, has left our age with nothing but ever changing faces and dubious selves. The most corporeal and brutal example of this is cosmetic surgery. And, Kim Ki-Duk's haunting masterpiece speaks to both the obsession with a physical ideal, as well as the very ambiguous ideology of identity.

As a cynical and often apathetic moviegoer, this film entranced, bewildered and truly disconcerted me. Kim Ki-Duk is developing into an incredible filmmaker. The cinematography is delicately crisp, in a way that is very new and only really found in a handful of Asian movies from about the last 5 years. The dramatic elements are utterly profound, and the plot functions on many levels, (though not specifically allegorical) invoking and evoking issues ranging from history, the failure and ultimate relativism of communication, the absurd necessity for beauty, as well as a plethora of other parallels.

Anyhow, I find myself being verbose, but I just watched this movie and am terribly excited about it. Instead, the film itself is anything but convoluted, and though not exceedingly complex, is incredibly deep. Be patient, because it starts a little slowly, but erupts into something so strange and meaningful that I would recommend this film to anyone that enjoys Asian cinema or that likes to think.

In combining elements of sci-fi and fantasy with a thoughtful, contemplative study of human relationships, the Korean film, "Time," brings the adage "Beauty is only skin deep" to a whole new level.

When she begins to sense that her boyfriend, Ji-woo, may be losing interest in her, Seh-hee decides to undergo plastic surgery so radical that even he will not be able to recognize her. Her plan is to then insinuate herself back into Ji-woo's life under the guise of her new identity, hoping to stave off his growing indifference and, in so doing, give them what amounts to a second chance as a couple. Needless, to say, Seh-hee 's scheme does not work out quite as planned and she learns some pretty powerful lessons about the way true love actually works.

Although Seh-hee clearly believes that by altering her appearance she will be able to change her inner makeup as well, the truth is that she remains every bit as grasping, jealous, melodramatic and paranoid after the surgery as she was before. No amount of change in her looks can raise her self-esteem or make her any less difficult to deal with. Her boyfriend, meanwhile, becomes a pawn in her twisted game, as he is tricked into inadvertently rekindling a romance with a woman who carries with her all the same baggage he had so much trouble putting up with in the previous relationship (despite the fact that he genuinely loves her).

An attack on the looks-obsessed nature of modern culture, "Time" is not a "thriller" in the conventional sense of the term. It demands patience as it goes about the business of laying out its storyline and doesn't go in for a whole lot of fancy horror movie pyrotechnics to raise the audience's hackles. Instead, it relies mainly on subtle psychological insights to generate a feeling of imbalance and unease. Seh-hee is clearly mentally and emotionally unstable, and writer/director Ki-duk Kim's subtle, almost Pirandellian way of dealing with that madness makes it all the more disturbing.

Strong performances, steady direction, sharp cinematography and an unnerving view of human nature all combine to make "Time" an offbeat, memorable experience. Don't expect to jump out of your seat or bury your face in your hands during the course of this film - for in the case of "Time," the chills all take place in the mind.

Although I have not watched any of the director's previous movies, "TIME" was a movie that was definitely provocative and representative of women's ideals of today. At least most of the women I know. Do not watch this movie at face value because for me, I felt that the director did a fantastic job portraying the emotions and insanity faced by the women and men who were in that situation. When in the cinema, there were men sitting next to me complaining about how crazy the protagonist was. I was quite sure he didn't enjoy it. So my advice is take it artistically. It's quite disturbing to the mind when you see what plastic surgery looks so prepare yourself for such graphics.

Plastic surgery has become today's solution to esteem problems and the result is, even more problems.

Ki-duk Kim is one of my favorite filmmakers. He seems to always stick to his vision and, I suspect, enjoys going against the very grain of where he is expected to go. It is my opinion that he takes audiences to "places" in Korean culture that other Korean filmmakers dare not go. I had been waiting to see this film on the screen but the opportunity has yet to come. I was thrilled when a pal sent me the just released DVD.

Ki-duk Kim's work is surreal, socio-political and melo-dramatic all at once. This can be an uncomfortable combination. I find that there is often a dark comedic element at work in his films which makes it all the more uncomfortable. In fact, I often wonder if the "comedy" I find is intended. As a viewer, I don't care. I find his work endlessly interesting and unforgettable.

This is not his finest work. It is, however, a visually stunning work. At it's heart are two central ideas playing off each other: the 21st century obsession with plastic surgery and the obsessive quality of love/devotion. The film is filled with character insecurity and the neurotic. The surreal set up for this film is also a bit too confused. However, I would urge anyone interested in his work or the films that are coming out of Asis to seek this film out.

There has been criticism of the theatrics of the performers. While I understand this issue I feel the actors give exactly what Kim was after. The pitch of the performances match the over-the-top story line.

This is an intellectual film. I think what I love the most is the fact that it is visually intellectual vs. plot driven intellectual. I am not sure I managed to get that idea out, but I hope whoever reads this understands what I am trying to articulate.