Previously, Uncle Yu chatted with everyone about a lot of ** film masters. For example, Li Hanxiang's Fengyue and Almodovar's freak love all have their own strengths. After thinking about it, I missed one. Kim Ki-duk. Every time he shot, the audience was dumbfounded. 
In 2020, he died in Latvia due to complications from the coronavirus. 
During his lifetime, Kim Ki-duk was subject to a lot of controversy. He once said, "Even if I die now, I will be judged again." Now, three years after his death. Uncle Yu specially picked a very representative work. Let's take a second look at the most controversial master of strange affairs in South Korea and even Asia - "Drifting Room".
Lee Chang-dong once said that Kim Ki-duk is a scarce animal in Korean movies. His works are often accompanied by great controversy. Among them, there are many word-of-mouth masterpieces, which are compulsory courses for movie fans. Such as "Spring, Summer, Autumn and Winter and Spring", Douban 85 points. The change of the four seasons is a metaphor for the cycle of life, with the ultimate Zen. 
At the same time, it has won many awards. He is the Korean director who has won the most awards at the three major film festivals. In 2004, he won the Best Director Award at the Berlin and Venice Film Festivals for "The Empty Room" and "Samaritan Girl". 
In 2012, "Holy Martyrdom" won the Golden Lion Award in Venice. It is the first time that Korea has won the top award at three major film festivals. With a mother and son, the order of industrialization was questioned. 
However, such an internationally renowned film is extremely unpopular in South Korea. Even in 2020, when his obituary reached South Korea, there was little response. Some viewers love him deeply, and at the same time, many hate him to the core. Because of his movies, the three views are always shattered, and the audience all exclaimed
This "Drifting Desire Room" can be called the best in Kim Ki-duk's directorial sequence. On the steamy surface of the lake, there are a few houseboats floating around. It's an angler's paradise and a great place to have fun. Early that morning, a man crept out of the hut and fled in a hurry. 
I don't want to, I woke up the woman in the house. The woman watched her sweetheart drift away, her face full of unwillingness and grief. She picked up a string of sharp fishhooks, stuffed them into her own **, and dragged herself with hatred. Screams resounded across the lake, blood running down both strands. 
The man returned in terror and picked up the woman covered in blood. Crawling on the ground, he took out a tail hook for her. One by one, they are placed on the side, and they are stumbling into three shapes: love, entanglement, and loneliness.
The woman's name is Hee Jin, and she runs a houseboat on this lake. During the day, she is the proprietress who carries the fisherman. At night, she shuttles from one client to another, becoming a prostitute who sells her body.
Most of the men who come here are scoundrels. Sometimes he swears foul language, and sometimes he loses money and humiliates. Hee-jin never spoke, and returned with a vicious look. Sometimes take advantage of the darkness of the night to take revenge on the water. Dive into the water and slowly approach the plank, dragging the prostitute who offended her into the lake.
It's not like it's going to kill you. The client struggled to call for help, and was embarrassed by his companions. Hee Jin returned to the boat and looked coldly, like a siren in the lake.
The first time Hee Jin laughed, it was when he met Hyun Sik. He never yelled at him and was always polite. He doesn't seem to be good at fishing, and spends his days doing nothing to make handicrafts with iron wire.
However, this silent and kind man has been plagued by nightmares. He was a former police officer, and after bumping into his wife cheating, he lost control and took out the killer. In order to avoid pursuit, he fled to the island.
The murderer's past, Hee Jin never wanted to know. She silently guarded her surroundings, leaving no trace. When Hyun-sik wants to commit suicide in fear of sin, she suddenly emerges from the water to stop her. He slashed his thigh with a knife, causing him to throw his pistol into the lake.
The police patrolling came to search for him. Hyun-sik, who is terrified, wants to swallow a fishhook and tear his throat to commit suicide. Blood spurted out of his mouth, and he collapsed to the ground.
Hee Jin arrived in time again. Using the partition of the toilet, Hyun-sik is hidden underwater. After the police left, he turned the fishing wheel and fished Hyun Sik, who was almost suffocated.
Desire is the theme of all Kim Ki-duk's films. He loves to put his characters in inhuman situations. Strip away all sociality and reveal the primitive bestiality. Therefore, animals are the most frequently used imagery. The snake in "Spring, Summer, Autumn, Winter and Spring" symbolizes the world's **. The dog in "Recipient Unknown" reflects the loss of dignity and desire of the people at the bottom.
In Drifting Desire Room, fish and hooks are everywhere. Hyun-sik once caught a strange fish. The belly of the fish is peeled and fleshed, but it still swims desperately. The encounter with this fish has become an allegory for the male and female protagonists.
The absurd freak of love is made more intuitive by the intervention of the fishhook symbol. Freak love, first of all, comes from loneliness. Seeing Hee-jin often sitting on a swing on the shore, Hyun-sik made a model out of wire. Every time I play with it, I can make Hee Jin smile.
The two were blocked by the lake, and Hee Jin used a mirror to cast a reflection. Two isolated islands, gradually approaching each other.
Loneliness carries desire, and desire begets possession. On a rainy day, Allah visited and threw out the first fishing line. Hyun-sik doesn't understand Hee's real affection, but instead misunderstands it as a prostitute's teasing. Roughly pinned her under her and tore off her clothes. ushered in a struggle to resist and was kicked into the lake.
Secondly, there is jealousy. Hyun Sik called a prostitute and was carried by Hee Jin. But he had no intention of **, just invited the other party to have coffee and chat.
Hyun-sik was ingenious and made interesting ornaments on the spot. The originally anxious girl was also attracted by the deep uncle in front of her. No longer talking about business, but moving sincerely. Can I hug you?」
After that, the girl came every once in a while. From tens of minutes, to an entire night. Every time Hee Jin drove a boat to carry her, she had mixed feelings in her heart. Dive into the water, push open the partition, and peek at Hyun-sik and others' **. In a masochistic way, he burns his jealousy to the fullest.
And the strongest way to maintain this relationship is to kill. Faced with the girl who came again, Hee Zhen couldn't bear it. She bound it and locked it up in another hut.
Originally, I just wanted to scare the other party and make him retreat. Unexpectedly, the girl struggled out of the house at night, plunged headlong into the lake and drowned. The wind on the surface of the lake sadly brushed Hee-jin's long hair. She didn't care about repentance, and hurriedly sank the girl's electric car and the corpse to the bottom of the lake.
However, the pimp who came to the dignitary broke the secret. Just as he was fighting with Hyun-sik, Hee-jin dragged him into the water and drowned him alive. The skillful corpse sinking technique and the high heels left behind by the girl all made Hyun-sik feel a chill.
Hyun-sik decides to flee from this terrible love. There was no boat, so he carried the floating bucket and tried to swim to the shore on his own. Halfway through, he choked on the water and threw himself and cried for help. Hee-jin stood on the boat with a smile and shone a flashlight at him, looking at this funny and pitiful look. Throwing the hook, piercing its palm, it fished back alive.
After coming ashore, Hyun-sik threw Hee-jin to the ground and kicked him hard. After venting the violence, he unbuckled his belt like crazy and vented his **. But before he could wait, he lay on Hee Jin and cried bitterly.
Before you know it, they've been firmly a** together. On this isolated island, they depend on each other for their lives.
The accident still came. A guest's watch accidentally fell into the lake. The salvage team went into the water, along with the motorcycle where the girl was found. The two bodies will probably be made public soon.
Hee-jin heard a lot of talk on the other side. She mounted the engine on the houseboat and sailed off into the distance.
After all the ** and the slaughter, Kim Ki-duk left a meaningful ending. The man appeared naked in the picture alone, and disappeared curiously in a lush field of aquatic plants. As the camera zooms out, the aquatic plants turn into the hair on the woman's lower body. Primitive desires eventually lead people to infinite entanglement.
The ** in the movie may come from the wildness of Kim Ki-duk. He didn't graduate from junior high school and didn't have professional film and television training. For all kinds of isms, it is even more an afterthought. For example, in order to show the struggles of the characters, this film arranges a large number of scenes of fish abuse. When it was screened in the West, it attracted criticism from animal protectionism.
However, it is this sense of wildness that makes his work extremely unique. He is known as a prostitute director. But it is never an empty ** description, and it is always injected with scrutiny and criticism of society. From "Bad Boy" to "Samaritan Girl", including this film, the prostitute is constantly virginized. Maybe it's to puncture men's emasculation anxiety, or maybe it's to reveal the hideous lives of the people at the bottom.
Behind the blood and **, there is a consistent focus on marginalized groups. It has never been immersed in the prudent charm of the middle class, and it shows out the original ecological aesthetics and values. Write maggots, and rest until you die. He had a high-profile opposition to the social order. South Korea's middle class should abandon the idea of hierarchy. As a result, he was forced to apologize and temporarily quit the film industry.
The Truth has also bombarded the film and television industry. He has always insisted on the importance of independent films, and has promoted many young filmmakers. never thought that he would be betrayed by his beloved apprentice Zhang Xun ("Movie is Movie" and "Highland Warfare"). misappropriated his script, and instead attracted investment, and made a larger production of "Righteous Brothers". * But he bit back, forcing him to be disheartened and live in seclusion in the mountains and forests for three years.
Even so, he repeatedly stressed that he did not mean to blame Zhang Xun. What he despises is the behavior of big-budget films competing for small-budget films. What he really wants to bombard is the gradually unitary film market. This is a manipulation of culture, which can only end up turning our citizens into slaves to a monoculture
Kim Ki-duk's warning is weak and even futile. In 2020, the year of his death, Korean films are still in an unprecedented for the victory of "Parasite". In the face of an open international market, big-budget projects are emerging one after another. But within three years, the crisis suddenly erupted. Many blockbuster films are dismal at the box office, the film market is monotonous and boring, and Korean films are facing a situation where there are no films to make.
Looking back at Kim Ki-duk's works, how can he not sigh. Not educated by tradition, not disciplined by the mainstream, and not recruited by the official. In fact, this sense of wildness was once an important force in the rise of Korean films. It also resonates with any piece of land. Making movies was the happiest time of my life