Most directors become less experimental or transgressive once they've made a name for themselves. Kim Ki-duk is one of the most notable exceptions. Being Korea's most notorious film maker isn't an easy accomplishment in the first place, given that no other country produces so many veritable authors of cinema. But being able to increase the radicality of one's cinematic language while maintaining the same themes is quite a feat indeed.
Kim's Golden Lion-winning previous work 'Pieta' was already almost silent; with 'Moebius' he has not only succeeded in making an entertaining silent film which isn't a reminiscence of a bygone era, but actually managed to push the limits of film as a medium a bit further ahead. The closest film which could compare is 'Themroc', not just because there's no dialog apart from lascivious or painful grunts, but because it almost seems to be a parody of that film's social critique: 'Moebius' quite on the contrary admits to its own silliness.
Many reviewers seem to take the symbols too seriously. The Buddha heads, knifes used for castration and masturbation and of course the body part which is the main plot device (as well as what the title may ironically refer to) - they may all mean something, but they certainly don't have to. There may be tons of allusions to Greek mythology, but it's entirely possible that this is just what you want - or do not want - to read into the film. If these metaphors were any clearer - then this would make 'Moebius' a lot less brilliant. I prefer to think that, as in many of Kim's previous films, it's the effect which is the meaning, and there's not much of a meaning hidden underneath the effect.
Which is why I think of 'Moebius' as one of this year's very few 'must-sees' - unless one suffers from castration anxiety.
