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.
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.