I'm fast becoming a fan of Korean director Kim Ki-duk; this is the second film of his I've watched after SPRING, SUMMER, AUTUMN, WINTER...AND SPRING. The two films have much in common in terms of style and setting, but THE ISLE is something else entirely. While SPRING was a heartwarming story that championed the Buddhist lifestyle, THE ISLE is an extraordinarily dark tale of obsession and broken psychology.One again, Kim Ki-duk has crafted an expertly visual film; THE ISLE looks fantastic and the setting of those floating holiday lettings is an exceptional one. The characters are painted in broad strokes but this makes them thoroughly interesting and it goes without saying that the subdued acting is fantastic. This is a slow burner of a film, yes, but a thoroughly satisfying one all the same, in which the atmosphere is interspersed with some eye-popping set-pieces; if this doesn't put you off fishing then I don't know what will.Although the infliction of pain is upsetting in the extreme, there are always good reasons for what occurs here, making this as far from "torture porn" as you'll get. The only issue I have with it really is the real-life animal cruelty, something I'm dead set against, but the UK DVD thankfully excises much of this material. In any case, I can't wait to check out more from the director.

"Seom" is definitely not a film for everybody but surely is a film that will not leave anyone untouched. It's calm and cruel at the same time. The movie is mostly known for its disturbing scenes: you can see, among the others, fishing hooks stuck into a man's throat or in a woman's vagina, or a fish partially eaten alive, but you can also admire some of the most poetic images ever filmed. The film is photographed in a beautiful way (Kim Ki-duk was a painter before being a director), some shots of the lake are stunning and anticipate the ones of "Spring, Summer, Fall, Winter... and Spring". The plot is about an apparently mute girl who works in a fishing resorts, she rents floating houses to fishermen, sell food and provides prostitutes for them, occasionally she sells her body too. A man arrives at the resort, he is a fugitive running from police. A strange bond starts between the man and the girl. After some suicide attempts and some murders the couple will leave the resort on a floating cabin. The narration is slow, but are the images and symbolism to be eloquent The film is superbly acted, especially by Jung Suh who carries on his role credibly without speaking a word. "Seom" is the movie that made me know Kim Ki-duk and I consider it a masterpiece.

This film is meant only for adults and even then not for an average viewer. It has some graphic sex scenes, an almost rape, some animal torture with a little bit of self mutilation thrown in. As I said earlier, definitely not for an average viewer. The story itself is very weird and not everything makes sense. So if you like yours movies to make perfect sense this is probably not the movie for you. All that being said, The Isle has its positive points. The cinematography is beautiful in some parts. And the weird story just keeps you hooked as you don't have any idea what is going to happen next.I would recommend it if you watch a lot of foreign movies as it is quiet an experience and it remains with you for some time which is more than what could be said of a lot of other movies.

Is this the same Kim Ki Duk who directed the poignant, life-spanning testimonial of "Spring, Summer, Fall, Winter and Spring"? The same Kim Ki Duk who directed the exquisite, nearly silent, heartbreaking longing of "3 Iron"? The same Kim Ki Duk who dazzled us with the staggering tragedy of "The Coast Guard" and made us squirm about the ugliness of nonchalant teenage prostitution before returning to his almost patented nature motif to allow us all (characters and viewers alike) to experience redemption in "Samaritan Girl"? I just cannot seem to find him in this film.Oh, sure, Kim's nature motif is still present. The film takes place entirely on a lake surrounded by mountains and on fishing floats resting placidly on the surface of calm waters. Yes, it's Kim Ki Duk, all right. Kim even describes the film as "beautiful" in an interview included in the DVD's special features. But I'm not sure anymore what that means after viewing this putrescent presentation.What is beautiful about angry, potty-mouthed prostitutes, lustful, violent and potty-mouthed fishermen, a covetous mute merchant, explicit animal torture, sequences of self-mutilation and a pace that swings nauseatingly between bestial carnality and mindless brutality? These are the only elements of humanity that present themselves in this utterly confounding and ultimately pointless film. If it is based on a fable or intended as a parable or is meant to be symbolic of something greater, this reviewer is unfamiliar with the source material. It has been favorably compared to "Audition" by Japanese director Takashi Miike (much to Kim's satisfaction), but aside from some astonishingly good performances, especially given what they had to work with, by lead actors Seo Jung and Kim Yoo Suk, I find little reason to recommend this film. I have not seen "Audition," but I doubt it would alter in any way my view of "The Isle." Its violence is pornographic and senselessly sadistic. Its sex is not pornographic, but passionless and masochistic. Characters behave on irritating impulse because there is no plot. Its point is either non-existent or, I will admit, lost amidst Korean cultural quirks that I fail to understand.The only beauty is in the cinematography, which is classic Kim: fog-shrouded boats lapping slowly across a serene lake, mountainous terrain dominating the background, and an imaginative and playful use of color. At times it seems as if viewers are locked in a big Kim Ki Duk romper room. Some touches, like the mysterious and seductive mute merchant played by Jung and the pleasantly odd use of motorbikes, are intriguing. But as a film, this effort is downright confusing and, in the end, offensive to the senses, not necessarily to sensibilities. One hopes that Kim will leave this kind of film-making in the trash heap of his past, for we know he is capable of so much more.