Review: THE NET Is a Simple Catch from Kim Ki-duk

By Pierce Conran

Complex issues get a facile treatment in The Net, the latest work from Korean provocateur Kim Ki-duk. More coherent than his last two outings but a far cry from his best work, Kim's film comes off as little more than a simplistic sermon brought to life through routine indie specs.

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Busan 2014 Review: HILL OF FREEDOM Proves A Pleasant But Slight Slice From Hong Sangsoo

Part of MKC's coverage of the 19th Busan International Film Festival

By Pierce Conran

It's easy to accuse Hong Sangsoo of doing the same thing over and over again as each of his films revisit the same themes with similar characters, situations and locations. Such a reading can easily miss the point of his constant repetition, which cleverly lays bare the hypocrisy and narcissism of the characters that populate his output. Yet with his latest work, the particularly laid back jaunt Hill of Freedom, the director seems to have less to say than usual. However, with deliberately simple dialogue (in English) and an uncomplicated narrative, as well as a very brief 67-minute running time, the director also appears to be in a playful mood.

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Busan 2014 Review: Kim Ki-duk Off His Game With ONE ON ONE

Part of MKC's coverage of the 19th Busan International Film Festival

By Pierce Conran

Enfant terrible Kim Ki-duk returns with his 20th feature One On One, opening the Venice Days sidebar this year with an uncharacteristically plot-and-character-heavy offering. With an overt social agenda and a familiar revenge narrative, the film appears to be primed for a larger audience than much of the divisive cineaste's work. But with a rushed production schedule and comparable lack of poetry (however gritty) and wit than his previous efforts, it proves to be one of the director's least satisfying outings.

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Busan 2014 Review: Mortality And Desire Mingle And Dance in REVIVRE

Part of MKC's coverage of the 19th Busan International Film Festival

By Pierce Conran

Returning for his 102nd feature, the indefatigable Im Kwon-taek continues his move away from period and cultural fare with the melancholic Revivre, pairing up once again with the equally venerable screen legend Ahn Sung-ki. Somberly shot and deliberately paced, Im's latest is a thoughtful and pellucid perlustration of mortality and desire.

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