Adventures Of Zatoichi Review

Adventures Of Zatoichi

Year: 1964

Director: Kimiyoshi Yasuda

Writer: Shozaburo Asai,(based on a short story by Kan Shimozawa)

Starring: Shintaro Katsu, Eiko Taki, Miwa Takada, Mikijiro Hira, Kichijiro Ueda, Akitake Kono, Koichi Mizuhara, Ikuko Mori,

Once again our blind swordsman finds himself wrapped up in a dark caper he probably would have rather avoided. This time he even laments towards the end how he thought this would just be a pleasant journey. Adventures Of Zatoichi is actually just a single adventure, but suggests that this is Zatoichi’s life. The word ‘adventure’ also underplays all the pain and suffering brought about by the complexities with which Zatoichi gets entangled with. This time he is asked to pass a letter to a lady in an inn. Of course, a simple message delivery doesn’t exist for Zatoichi, and he is forced to protect the recipient (Taki) after she is targeted by a gang.

Forever With You Review

Forever With You

Year: 1958

Director: Yoo Hyeon Mok

Writer: Park Seong Ho

Starring: Lee Ryong, Do Kum Bong, Choi Bong, Choi Myung Soo, Choi Nam Hyun, Jang Min Ho, Kim Seung Ho,

Yoo Hyeon Mok is one of Korea’s most respected filmmakers and Forever With You is his earliest surviving piece. Although the film falls neatly into the category of melodrama, Mok avoids the majority of pitfalls that can be associated with the often emotionally manipulative genre. He does this by executing a number of excellent techniques that have prevented the film from aging despite its age of 56 years. The script also may revolve around love and tragedy, but it also takes time to explore other aspects of the world whether that be society, revenge, emotions, or merely moving on.

Fight, Zatoichi, Fight Review

Fight, Zatoichi, Fight

Year: 1964

Director: Kenji Misumi

Writer: Seiji Hoshikawa, Tetsuro Yoshida, Masaatsu Matsumura,(based on a short story by Kan Shimozawa)

Starring: Shintaro Katsu, Hizuru Takachiho, Nobuo Kaneko, Gen Kimura, Shosaku Sugiyama, Ikuko Mori,

 

Misumi returns to the series for the first time since the film that started it all. Although his presence isn’t as noticeable as when some director’s came in and added stylistic flourishes, what is easy to notice is how restrained the ironically titled Fight, Zatoichi, Fight is. Despite that title, the film is the least violent of the efforts so far, mostly due to the main plot which sees Zatoichi trying to deliver a baby home to its father. This story means that Zatoichi must avoid fights in order to complete his mission, but the declarative title is how his adversaries (and perhaps the audience) feel. Violence doesn’t leave Zatoichi alone, he is a violence magnet despite his calm and caring nature.

The calm and caring aspects of the blind swordsman are what are really on show here. He comes into possession of a baby after he offers a ride in a palanquin to a struggling young woman. Unfortunately a gang of hired assassins have already seen Zatoichi in said palanquin and run it through assuming they have struck their target. This kind of cruel fate constantly haunts Zatoichi, and so he decides to take a road trip with the child. It’s a slower tale than others, but one that fully allows Katsu to show off his comedic talents. The bonding between Zatoichi and the baby has none of the mawkishness or sentiment that would be so easy to attribute to such a film. Instead, it’s displayed as a learning process, as Zatoichi begins to understand the child. It also brings out Zatoichi’s playful side, and it’s nice to see that he never once plays the role as a gruff cold hearted Grinch.

The villains are kept very simple in this 8^th adventure, and it works very well. Having generic villains can work when they are not necessary to the plot. The sense of threat is always out there, but watching Zatoichi grow is far more important. His character is also defined in scenes such as when he protects a young female pickpocket from one of her victims. He refuses to cover up for the lady’s indiscretions, but also aids her enough to avoid any violence. Despite the legend behind the man, and the reason we all flock to a Zatoichi film, he is not gung-ho and would probably give up his sword at the first available chance.

The scene builds nicely towards its inevitable conclusion, which sees a beautifully constructed showdown that utilises fire. As his enemies surround him, Zatoichi once again comes across as a mythical monster who inhabits the nightmares of evildoers. It shows that Misumi has not lost his touch, and his later adventures in the Sleepy Eyes Of Death and Lone Wolf And Cub franchises would prove this should it have needed proving. This is a stripped down Zatoichi experience that shows that despite Hollywood’s insistence to “go big or go home” as far as sequels go, sometimes a deep breath and bit of patience can go a lot further.

Will I enjoy it?

This will certainly appeal to fans of the character more than fans of samurai action features. There’s a strong maternal vibe that flows through the film and results in a lot of heart. The bonding sequences far outweigh the fights, although those are worth the wait if that’s what you’re mostly interested in. Anyone who’s ever laughed at a Zatoichi film before will probably enjoy the slower sections.

 

 

Assassin Review

Assassin

Year: 1969

Director: Lee Man Hee

Writer: Lee Eun Seong (based on the novel by Lee Oyoung)

Starring: Jang Dong Hui, Nam Gung Weon, Park Am, Kim Hyeo Kyoung, Oh Ji Myoung, Jeon Young Seon, Choi Bong,

Lee Man Hee only lived to the age of 43, but in that time he managed to direct at least 50 films, although only half survive today. Assassin is an oddity of a film as it shows Lee at his most experimental. The film, despite having a very basic plot, has a very complex rhythm which can be argued doesn’t actually work. Although challenging, it is an uneven piece and at times a real effort to struggle through.

The Communist Party have discovered one of their biggest supporters is about to switch allegiances. As he intends to announce the switch the next day, it is decided he must be assassinated that night. That way everyone will assume anti-communists are responsible. An assassin (Jang) is chosen and as he takes on the case, accompanied by Number 1 (Nam), his ‘daughter’, who is actually the daughter of a man he killed in the past, is babysat by Number 2 (Oh). The entire length of the film is basically the assassin on his way to kill his target. The lack of names is an indication of the disconnect the audience will probably feel, as there is no entry point into this world of politics and assassins. We’re constantly left on the outside, making it hard to care for the outcome. As the film also fails to wrap up a number of plot points, it also seems like a waste of time.

The middle section is a constant build up of tension, or at least it would be if it wasn’t so repetitively constant. It soon becomes apparent that the long walk to the target is going to make up the majority of the film. However, Lee tries to instill a quick pace with jarring cuts between three separate stories. We see the assassin on his way, the target settling down for the night with his lover, and the daughter being babysat. The cuts are so quick that it seems as though they are heading towards something, but after about 20 minutes you realise that the pay-off is nowhere in sight. The music is also repeated to a sickening degree. Some of the edits between the different locations are nice, but you’ll soon be bored by daughter’s story that goes nowhere and doesn’t seem to end.

There’s a lot of metaphorical dialogue and meaningful imagery to take in, and decoding it can be fun at times, but there’s also just too much meaningless meandering as well. Lee really is a great filmmaker, but this is a project that needs to be watched in context and as a companion to his surviving works. Films in South Korea were heavily censored at the time due to the rule of Park Chung Hee, but many others managed create serviceable and well plotted films during this time. If you’re looking into the history of Korean cinema and want to check out Lee Man Hee’s work, don’t start with this effort.

Will I enjoy it?

The title and plot may seem like something a little more action orientated, but don’t be fooled. It’s a slow burner that requires a lot of thinking and analysing, which itself is disrupted by a nauseatingly edited second act which continuously bounces around. This is one for completists and those that simply must explore the more bizarre areas of film. If you want to understand why it’s sometimes best to stick to the rules of editing, this may explain why.

Zatoichi’s Flashing Sword Review

Zatoichi’s Flashing Sword

Year: 1964

Director: Kazuo Ikehiro

Writer: Minoru Inuzuka, Shozaburo Asai,(based on a short story by Kan Shimozawa)

Starring: Shintaro Katsu, Naoko Kubo, Mayumi Nagisa, Takashi Edajima, Tatsuo Endo, Yutaka Nakamura, Bokuzen Hidari, Ikuko Mori,

 

Ikehiro returns to the director’s chair for the 7^th instalment in the Zatoichi franchise and refuses to rest on his laurels. Despite being one of four Zatoichi films released on 1964, this is every bit as fresh as any offering. Ikehiro’s style is noticeable from the outset, with Zatoichi about to be taken advantage of by a gang, before he quickly kills three flies with his flashing sword. Ikehiro even incorporates a POV fly shot to this sequence that perfectly captures Zatoichi’s character. He obviously knows what the men are up to, but uses his skills to deter them and avoid trouble rather than punish them from the outset.

This time Zatoichi starts off being shot and floating down river. The young would be assassin is actually the son of a generous and kind gang boss who currently holds the land used as a river crossing. Of course, a more unscrupulous boss wishes to take control of the land by any means necessary. Zatoichi, having been cared for by the kind boss’ daughter, Okuni (Kubo), finds himself getting involved in all the affairs that this complex rivalry has to offer. It’s a simple story with a few complications thrown in that work wonders. Having a brother and sister of very different qualities both threaten and heal Zatoichi helps weave the tapestry of hate and kindness that our hero finds himself questioning throughout the film.

Heavy on comedy it may be, but this entry uses each comical moment to elaborate on a serious point. Zatoichi is warned of an upcoming hole in the road by a group of youngsters, but ignores their advice assuming they are trying to trick him. It may be played for laughs, but Zatoichi’s loss of faith is both saddening and important. He’s bought them some candy, but still fails to trust them. At the river crossing he takes one journey and demands his change (quite uncharacteristically), only to return another day and ask for the same carrier to see what his response will be. It’s these little moments that allow Katsu to come alive. We also get a glimpse at Zatoichi’s need to feel normal, as he peeps in on a bathing woman despite his lack of eyesight.

The humorous tone is dropped in the latter part of the film, where violence and darkness seep in in beautifully dynamic ways. This film seems like a huge influence on the works of Park Chan Wook of Oldboy and Sympathy For Mr Vengeance fame, with two sequences being echoed in those pieces of work. Zatoichi leads a group of samurais into the water where he then goes underwater and dispatches them. It’s beautifully shot, with each man fainting into the water, and Zatoichi rising like a mythological seabeast. The finale is very brutal, and drops us into Zatoichi’s dark world. It becomes a horror with Zatoichi as the monster and Ikehiro acts as though he has yet to reveal the menace. A sword through a door, seeing kills represented in shadow, and Zatoichi’s arms creeping out from behind pillars are just a few of the techniques incorporated to take this film from being the funniest to evolving into something actually quite scary.

Will I enjoy it?

At first it is the most accessible Zatoichi film of the bunch. The humour is international and delivered with great timing. This makes sequences between the fights a lot more enjoyable. The action sequences are also very well constructed, and obviously still hold influence over films of today making them seem less dated than other films from the 60s. If you’re unsure of whether or not you wish to view the entire series, check this one out first as it has some of the funniest moments and some of the darkest, making it a balanced representation of the entire franchise.

 

 

5 Marines Review

5 Marines

Year: 1961

Director: Kim Kee Duk

Writer: Yoo Han Cheol

Starring: Shin Yeong Gyun, Choi Mu Ryong, Hwang Hae, Park Noh Sik, Kwak Kyu Seok, Dokgo Seong, Kim Seung Ho,

Kim Kee Duk, not to be confused with Kim Ki Duk, is renowned as a genre filmmaker in Korea who may have started with this war film in 1961, but would go on to direct comedies, romances, and even a special effects monster movie. Starting his career in 1961 and retiring in 1977, you would expect there to be a lack of output, but Kim Kee Duk managed to direct 66 films. That is an amazing number of films, and in the last 37 years Kim has not returned to the director’s chair. 5 Marines was one of the first films made under the militaristic rule of Park Chung Hee once he assumed power after the 16^th May coup. Despite made at the request of the military, the film refuses to become just a piece of propaganda.

5 Marines has a very fresh feel in terms of dialogue which many audiences of today will appreciate, especially those brought up on the works of Tarantino. The soldiers, while digging their trenches, bicker over cigarettes and discuss their women back home. It’s very jovial and quite enjoyable, especially a scene in which a soldier sculpts a woman in the mud that surrounds him. Another memorable scene sees the camera glide over the marines as we hear voice-overs of their inner thoughts. These moments work to humanise the characters long before we enter any conflict, and that’s the most important part of a war movie. They may be historically important, but many war films take for granted that audiences will connect with people serving their country without attempting any development.

Development is furthered by the main characters each having a flashback to their life before the war. Oh Deok Su (Shin) recounts his falling out with his battalion leader father, and although such scenes aren’t inserted perfectly into the narrative, they offer a lot in terms of emotional content. The final act sees 5 of the marines go on a secret mission behind enemy lines, and at this point dialogue becomes non-existent. It shows how quickly Kim can change his technique when necessary and how good development can allow the action to take centre stage. As noted before, Kim refused to become a mouth piece with an agenda. There is very little, if any, mention of the politics of the combatants in the North, and heroic behaviour is motivated by personal drive and not blind loyalty.

The film does seem very confined at times, and not just to represent the conditions in the trenches. This is due to the 4:3 aspect ratio, but also perhaps for budgetary reasons. Bridge On The River Kwai came out just 4 years before 5 Marine, but dwarfs it in terms of scale. This is merely an observation by someone clearly spoiled by Hollywood output though and thanks to the brilliant script, it isn’t too notciable. 5 Marines has everything a great war film needs, including heart, action, and even humour. Although it may feel as though it is shot in tiny spaces, I know I’d rather have meaningful content than impressive visuals.

Will I enjoy it?

There doesn’t seem to be anything to truly dislike. The dialogue still sounds fresh and very natural in both its scripting and delivery, and melodramatics are kept in check. All the characters are relatable no matter what culture you’re from, and it doesn’t force an agenda down your throat. This could be the tale of any men in any war and it would still work. The change in pace between character piece and thrilling action adventure may deter some, but I’m guessing you’ll be along for the ride by the time the switch is made.

Zatoichi And The Chest Of Gold Review

Zatoichi And The Chest Of Gold

Year: 1964

Director: Kazuo Ikehiro

Writer: Shozaburo Asai, Akikazu Ota (based on a short story by Kan Shimozawa)

Starring: Shintaro Katsu, Shogo Shimada, Machiko Hasegawa, Tomisaburo Wakayama, Tatsuya Ishiguro, Matasaburo Niwa, Hikosaburo Kataoka, Mikiko Tsubouchi,

 

This 6^th outing for the blind swordsman took on new writers and a new director, and it wouldn’t be the only time these three worked on the franchise. This new blood also allowed for a more adventurous and artistic approach to the formula we had come to expect. This is evident from the opening credit sequence, where we see Zatoichi (Katsu) battling a number of assailants against a pitch black backdrop. Only the people are illuminated, conveying Zatoichi’s world of darkness, but also in ability to ascertain where his foes are. It’s a gorgeous opening with a very theatrical feel and it is far from the only time that the style of this film impresses.

Style means nothing though, unless there is some substance to go with it, and we also have lashings of that as well. The story sees Zatoichi mistaken for a thief when a town’s taxes go missing. Zatoichi makes it his personal mission to track down the titular chest of gold and clear his name. Fairly simple, but a number of complexities and subplots are also introduced, but work to add weight to the overarching story, rather than smother it. One such side story focuses on Zatoichi repenting for murdering a man who in turn mistook Zatoichi for a warrior during a battle. We see Zatoichi’s tender side, which is also reflected in his refusal to turn to violence when the townsfolk accuse him if stealing their gold. They even go so far as to smash a bottle over his head, causing him to bleed, but Zatoichi knows he could easily kill them all. Violence is not his immediate go to, even though he is a magnet for such cruelty.

Katsu is once again joined by his real life brother Wakayama, this time taking on a different role to the one he played in THE TALE OF ZATOICHI CONTINUES. Wakayama makes his antagonist slimy and evil, but still retains integrity and respect towards Zatoichi. The real star of the film is Ikehiro’s dynamic use of the camera. He buries it in the ground to allow slow motion armies to charge over it, he does single tracking shots through wooded areas as Zatoichi slices his opponents, and he continuously makes each shot feel alive. If he isn’t using the camera to its full extent, then it’s the composition of shots that blows you away. As a group of samurai leave their lord’s manor at night, each carries a lantern which can be seen for miles. Ikehiro loves showing off the neverending sea of lanterns against gigantic backdrops such as mountains, and we love watching it.

Zatoichi And The Chest Of Gold is a sprawling adventure of 82 minutes that completely engrosses and satisfactorily explores every avenue. Whether it’s the nature of fast spreading rumours, corrupt government officials, or the honour of a man trying to do right by himself and no higher power, nothing feels rushed nor slow. Despite being six films in, we’re learning more and more about this character who searches for purity but never seems to find it, leading him to the most gruelling showdown so far.

Will I enjoy it?

It needs no further knowledge to jump in on this film and experience everything great about Zatoichi. The character is an easy one to pick up and journey with on an adventure. The violence is heightened this time around and the fight sequences still hold up today, as long as you suspend disbelief at the thought of a pretty much super heroic samurai. If you love your action melded with deep characterisation and fine plots, then you should certainly give this a try. It’s the best in the series since the original.

 

 

Chaw Review

Chaw

Year: 2009

Director: Shin Jeong Won

Writer: Kim Yong Cheol, Sin Jeong Won

Starring: Uhm Tae Woong, Jung Yoo Mi, Jang Hang Seon, Yoon Je Moon, Park Hyuk Kwon, Kim Go Cheon, Lee Sang Hee, Go Seo Hee, Park Hye Jin, Heo Yeon Hwa, Jung Yoon Min, Ha Sung Kwang,

South Korea had already impressed in the monster movie department with the fantastic The Host from Bong Joon Ho, but why stop there? Whereas The Host was predominantly a science-fiction creation, Chaw focuses on a beast of nature, a wild boar to be precise, which won’t sound too original to any fans of Australia’s Razorback from 1984. What sets Chaw apart from these features though is just how surreal and bizarre it becomes in short burts, sometimes resulting in hilarity, but equally causing some head scratching moments too.

Chaw takes place in a small Korean village where things move by pretty slowly. It’s even known as the “Crime Free Village”, so when a few people start to go missing, it’s kind of a big deal. Meanwhile, Officer Kim (Uhm) has been reassigned to the village from the busy city life of Seoul. The film pretty much follows the outline of Jaws to the extent that some distributors in English speaking markets have even added a ‘Z’ to the title to make it sound the same. The big city cop moves into a small town, the head of the village is worried about tourism during their push of organic foods, hunter’s clearly catch the wrong animal and believe it is the culprit, and so forth. Many of the characters also fill out the same roles, with a police officer, an animal expert, and a hunter taking centre stage.

The derivative nature can be somewhat distracting, and a reason why two views are often necessary for films. Once past the pattern of Spielberg’s masterpiece, there’s a hit and miss comedy of absurdity waiting to break free. The supporting characters seem to have been dragged from a bizarre cartoon, with a crazy lady who demands a homeless boy call her “mommy”, Kim’s mother suffering from dementia, and a hunter who imagines his dog can talk to him in Russian, a trait we are privy to during one very bizarre moment. Sometimes the humour is tired; police officers roll down a hill no less than 4 times in the opening 4 minutes. Then there are other times when the humour is hilarious, such as when the animal expert wants the hunting party to look more surprised by a discovery for the documentary she is making, they oblige and re-enact the entire moment.

The horror is kept to the first act, and after that it becomes more of an action film. The boar itself looks magnificent in both its CGI and animatronic form. The attacks are also nicely paced, although the same can’t be said for other moments of the film, such as a lengthy pause in Act III which doesn’t seem to add much. Well shot and constructed for the most part, Chaw could have benefited from a more streamlined edit. It certainly requires the viewer to be in the correct mood for the film, but if you are in said mood and you love a bit of monster mayhem, then Chaw will try its best to please.

Will I enjoy it?

You’ll need to love monster films and you’ll need to be able to look past the extensive references to past monster films too. The humour is very absurd at times, although certain scenes have an incredibly dark edge too, such as the death behind one of the victims. Characters range from needless, quirky, cliché, and unlikable, with most of the main ones developing enough to connect with on some level. Animal lovers beware though, the film takes no prisoners.

Zatoichi On The Road Review

Zatoichi On The Road

Year: 1963

Director: Kimiyoshi Yasuda

Writer: Minoru Inuzuka (based on a short story by Kan Shimozawa)

Starring: Shintaro Katsu, Shiho Fujimura, Ryuzo Shimada, Reiko Fujiwara, Matasaburo Niwa, Yoshio Yoshida, Sonosuke Sawamura, Shosaku Sugiyama, Yutaka Nakamura, Gen Kimura,

Zatoichi agrees to meet with a yakuza boss, but that is all. As always for Zatoichi, trouble soon finds him, as a rival gang believes Zatoichi intends to join their competitors in an upcoming battle. Despite being blind, Zatoichi’s legend precedes him, and it is decided to try and take out the blind swordsman with a penchant for gambling. However, Zatoichi isn’t the only one targeted by such thugs, and he also decides to protect a young woman hunted for spurning the advances of her lord.

The plot is most certainly rather complex, as Zatoichi finds he continuously attracts trouble from a number of antagonists. The fact that Zatoichi can never, and will never, escape his past mistakes becomes even more tragic here and the more he fights against his past, the bigger legend he becomes. Being a fifth entry, screenwriter Inuzuka puts a different twist on the character by showing him beginning to become frustrated with his situation. Heroine Omitsu (Fujimura) is unsure whether or not she can trust Zatoichi, and after she takes off he becomes very upset and almost angry.

Katsu handles such emotional jumps very well, and continues to perfect his performance that captures both a hard worn killer and a lovable and childish rogue. His reponse to eating a bitter persimmon after singing their praises is a quick glimpse of comedic gold. Yasuda may set his sights too high, as he brings in a number of rival gangs and a plot that changes focus more than once, but he also presents us with beautiful location shoots and a keen eye for detail in the glorious costumes. When not displaying a fantastic aesthetic, he’s also giving us development of even minor characters. One of the yakuza heavies questions whether to follow an order just because it’s an order, but he is then quickly dispatched by our hero in the next scene. This simple addition adds to the sadness of violence, as Zatoichi would have no idea that man he’s just killed had good characteristics.

Zatoichi On The Road weaves a simple story of our favourite blind swordsman into a rich and complicated world. The escalation leads us to a finale in which Zatoichi becomes the most important piece on the board as we flirt with an all out battle. All connections from the previous 4 instalments go unacknowledged, making this a fresh start. Unfortunately, there’s a little too much going on this time to maintain the attention, as the audience tries desperately to fit the pieces together.

Will I enjoy it?

This is probably most suited towards the converted. Having previous knowledge of the character, his gambling habits, and how trouble seems to find him, does add to the enjoyment. Although certainly not essential to enjoy the film, many of the reactions to Zatoichi are implicitly linked with his previous adventures. If you love a main character who you can easily connect to, and seeing him take down villains who have no idea what they’re getting themselves in to, then this could be a must see.

Samaritan Girl Review

Samaritan Girl

Year: 2004

Director: Kim Ki Duk

Writer: Kim Ki Duk

Starring: Kwak Ji Min, Han Yeo Reum, Lee Eol,

Some films defy all critiques and can be summed up in a simple anecdote. During my time as a student most evenings ended by putting a film on and falling asleep to it. One night I chose Samaritan Girl as that film, which was an odd choice as I had never seen it before and usually I would choose films I was familiar with. It was 2 AM when I started watching and not only did I not fall asleep, but I watched it three times in a row, finally finishing at 6:30 AM. This just demonstrates the sheer power of Kim Ki Duk films.

Kwak plays a young girl, Yeo Jin, who works as her friend’s Jae Yeong’s (Han) pimp. Pimp is obviously a strong word, but she arranges the clients, handles the money, and looks out for police while Jae Yeong is with her customers. While being distracted during one of Jae Yeong’s meets, the police burst into the room and Jae Yeong jumps out of a window, hitting her head and eventually dying. Yeo Jin decides to meet up with all of the former clients, sleep with them, and return their money. Unfortunately Yeo Jin’s father, Yeong Ki (Lee), is a determined police officer who discovers his daughter’s secret and seeks vengeance against the men who would use her.

Samaritan Girl, like all of Kim Ki Duk’s work, is a very difficult piece in many ways. It deals with the exploitation of underage girls, but also shows them as being in a position of power. We never feel as though the two girls are out of their depth, and some of the customers are even shown as caring. It’s all part of Kim’s non-judgemental style. Kim’s films are also more akin to poetry than traditional cinema. Sometimes there are huge leaps of logic and common sense, but the impacts these events have are significant and very symbolic. You may find yourself doubting certain scenes and character reactions, but when you realise that a realistic approach would have been plain and uninspired, you soon set your mind to a more analytical approach.

A rare beauty permeates from every pore of Samaritan Girl. It’s a tale where innocence is both destroyed and restored. As Yeo Jin gives up her virginity and body, we also see the peace and reflection she brings to the men she meets. One man calls his daughter after meeting with Yeo Jin, and we get the sense that this is the end of his deviant ways. Meanwhile, Lee Eol gives a tremendous performance as the conflicted and distraught father. First his warnings to the parade of men are verbal, but soon escalate into full on violence and aggression. Viewers will find themselves in either the camp of forgiveness or vengeance, or maybe even a bit of both, and that is what makes it such a powerful piece of art. It isn’t simple.

Will I enjoy it?

Enjoy is never the right word for a Kim Ki Duk film. It may be more apt to ask whether you will appreciate it. The difficult themes explored will not be too everyone’s liking, nor will the way in which they are explored. There are suggestions that the girls, despite their young age, are not victims at all and even come to enjoy what they are doing. It needs an open mind, as well as being able to let certain things slide to appreciate their meaning. If you like complex dramas with staggering performances, then you’ll get something out of this.