Director: Kim Ki Duk
Cast: Cho Jae Hyun, Seo Young Ju, Lee Eun Woo
Certificate: 18
Running Time: 89 minutes
Synopsis: After discovering her husband is having an affair, a woman decides to attempt to castrate him. Her plan is not successful, so instead she castrates their son before fleeing into the night. The father is then left to aid his son in a life without his manhood.
If you’ve never experience the genius of Kim Ki Duk, then may I suggest doing some research into his past films first. He isn’t exactly the most accessible of filmmakers, but he is most certainly one of the best working today. Kim’s films always have a unique and poetic voice, and MOEBIUS is no different in that regard, although MOEBIUS pushes the boundaries of even the limits fans of Kim would expect.
If I were to tell you that a film centred around incest and castration with exactly zero dialogue would turn out to be the most emotional and funny film of the year, you’d be forgiven for sending me on my way to the madhouse. However, this is exactly what Kim has done. At the centre of the film is a dysfunctional family were hyperbolic actions propel a warped and mad story. As shocking and controversial as the film is, Kim rests a layer of exaggeration which acts as humour throughout.
It’s probably fair to say that most men fear having their penis cut off against all things. It’s an international and multicultural fear that sweeps across any race, religion or sexual orientation. That alone makes this a difficult watch, but then we have a clear dilemma as the father confronts his sins. Can he make it all right again? Will his research into penis donations have successful results? And could a father’s love really result in the ultimate sacrifice? These are complexities that both Cho and Seo portray so well.
Even more amazing is that fact that the entire film is done without dialogue. The story is pretty universal in itself, reflecting elements of dark comedies and greek tragedy. The lack of dialogue furthers the idea that this is a film which will reach all audiences. No matter where you’re from, sex, masculinity, pleasure, and love are themes and ideas we all deal with. It also allows for Kim’s visceral style to speak for itself. Do we need dialogue in a scene in which bullies discover the son’s lack of a penis, or to portray the pain and degradation when the son’s only defense against a rape claim is to show his deformity? Cho and Seo constantly capture the emotions, as does Lee, who portrays two roles, as both the mother and a young woman. The lack of character names also emphasises how the film wishes to reach us all.
The darkness is often so over the top that it results in purposeful comedy, yet it is always comedy that carries with it a great deal of pain. If laughter and tears are so closely related then Kim exploits it very well indeed. Furthering respite to the depravity on screen is Kim’s almost fantastical way of shooting. Unlike most filmmakers, Kim is not a slave to logic, but abuses it to further his artistic exploration of key ideas. The film is one extended metaphor that delves deep into the world of family, desire and gender.
Hopefully you’ll be able to withstand the cruel violence and twisted characters just enough to become wrapped up in an unforgettable cinematic experience that proves a film can be experimental and artistic without being self-indulgent or pretentious. The only problem is telling others how enjoyable the whole film is without sounding like a perverse sadist.
[usr=5] MOEBIUS is in cinemas 8th August
