The extremes of sex and violence in Kim Ki-duk's cinematic art, if they are projections of their true humanity, how arrogant and fragile they should be.
Kim Ki-duk, the most famous Korean "yellow riot" director in the world film industry, almost without exception ends in nearly thirty film works, confirming in a resolute posture and extreme way that "there is no hope in this world".
There is no hope in this world.
This is very similar to the japanese Dazai Osamu's philosophy of survival, "born to be human, sorry", and it is also inevitable to think of the "sexual assault case" in which Taiwan's bean guide Niu Chengze claimed that he had been sentenced to death.
They are all talented, deeply aware of the dark side of human nature, and their artistic creation has achieved extraordinary achievements.
They self-destruct, but they struggle to never compromise.
On the opposite side of art, in their real lives, they walk towards the tragic fate of their own pens or the protagonists in the lens, and touch the bottom line of their own humanity.
In and out of the play, the artist and the Sven scum, anti-humanity and reflection on human nature, where is the boundary?
At the age of 39, Dazaiji finally succeeded in committing suicide in Tamagawa Shangshui, and Niu Chengze faced a prison sentence.
Kim Ki-duk, after a number of actresses he has worked with have sued her for using violence, sexual assault, and suspected of forcing actresses to shoot bed scenes that are not in the script, etc., his spirit was on the verge of getting out of control, and his image was even more plummeted.
In the whirlpool of public opinion, Kim Ki-duk, the new film "Human World, Space, Time and People" has been criticized one after another, some people say that he is exhausted, some people say that he is crazy, and some people say that he began to play God.
Falling from the altar, saying "aware of your limitations" in words, but expressing his "Genesis" feats in action with movies.
Cannibalism is not a metaphor, it is a real cannibalism in the world of Kim Ki-duk.
Eating people is not living alone, but the fate of "Eve" (female) who inherits the people who are eaten and reproduces future generations.
The eternal theme of Kim Ki-duk's films is "human nature", using women as bait to test human nature, violence as a means to squeeze human nature, love as a carrier to vent human nature, and metaphor as a symbol to reflect on human nature.
Sex without obscenity, violence without declaration, is the key to Kim Ki-duk's identification as an "artist".
Kim Ki-duk pays attention to the marginalized people and uses aesthetic lenses to reflect the protagonist's pickled life. Such as bridesmaids, prostitutes, abused wives, monks and low-level artists.
They are the bottom of the bottom of the edge, the bottom of the bottom of the valley of life, in addition to the heavy taste "metaphor" of gang rape, girlhood, depravity, incest, etc., examine the cruelty of life, and reflect on the original desire of human nature.
The most important point that cannot be ignored and the most precious point is the hopeless worry and humanistic care reflected by Kim Ki-duk in the intense discomfort caused by the audience and the cruelty of the humanity of Ling Chi sentient beings.
In "Human, Space, Time and Man", where human nature has collapsed, sex and violence are still naked and full, sharp and cold, and the beauty of human nature metaphors is missing.
The characters are thin, have no place to come from, and do not know where to go.
Human nature is dark, there is no good, exaggerating animal nature.
The emotional relationship between the protagonist Eve, Eve and Adam, Eve and boyfriend; Eve's physical relationship, Adam, boyfriend, Adam's father, gang-raping her little gangster and underworld boss (Liu Shengfan).
Male characters are either persecutors or both protectors and persecutors.
Among them, on the edge of the human test, only Eve's boyfriend and Adam.
Eve's boyfriend (Oda) begins as a cynical positive figure, but also has a human stain. In the face of life and death violence, he did not go to save the heroine who was gang-raped, but chose to escape.
Adam (Played by Jang Gen-suk), who is portrayed as a good person, and his father (Lee Sung-jae), who is a bystander as a national legislator, commits evil and enjoys special treatment from those in power.
In the face of Eve (Mika Fujii), who has been gang-raped, he allows his sexual desires to be unleashed. When there were only two left, she succumbed to her appetite and wanted to kill the chickens used for reproduction, and Eve was forced to cut meat to feed them.
Man is no longer a man, but a beast of only original desire.
The weak eat the strong, the survival of the fittest. Eve killed Adam, ate his flesh, and gave birth to a child with Adam's blood?
Eve and Adam were originally the parents of Genesis, and in the film they continue the "evil" of their parents and grandparents, and it is inferred from this.
Insert a sentence, a fat destroyed all Zhang Genshuo, acting skills have not grown ah.
Kim Ki-duk's "Human, Space, Time and Man" has a large theme and a decline in human nature.
We can't help but wonder about the old man (An Shengji) from the perspective of "God", who is probably the only person on this battleship who knows the cause of the "end".
Contrary to the author's assertion that "the old man represents nature" said by Kim Ki-duk, the old man is almost equivalent to Kim Ki-duk.
He constructed this "lonely ship survival" world, arranged each character clearly, maximized his consistent claims, and coldly watched the demise of humanity in this microscopic animal world.
It was only when Eve wanted to jump into the sea to commit suicide and could not accept the reality of pregnancy that she intervened to stop it.
And when Eve and Adam had no food to continue, cutting meat for nature (chickens and various plants and vegetables) was like "great love".
The old man is a silent wise man, an accomplice who looks at him coldly, and a God who dedicates himself to himself.
The entire lone ship of humanity, at the cost of the death of all its members, planted a seed of evil.
At the end of the film, the son with a gun has lust for his mother, does it indicate that human beings are the product of incest?
Kim Ki-duk's cruelty has since entered a morbid state.
"Human, Space, Time and Man" is probably his last film work.
Like the old man who represents "nature" in the movie, Kim Ki-duk's current discussion of human nature is the great love of humanistic care or the obscenity of a morally degraded old man, which must be marked with a question mark.
But for the classics he has created, such as "Spring, Summer, Autumn, Winter and Spring", "Samaritan Girl", "Empty Room", "Holy Death", etc., it is undeniable that they occupy an important position in the history of Korean cinema and even world cinema.