6.1/10
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3 user 15 critic

Real Fiction (2000)

Shilje sanghwang (original title)
The film follows a South Korean artist as he systematically seeks out, and then guns down his real or imagined enemies.

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1 nomination. See more awards »

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Cast

Credited cast:
Jin-mo Ju ...
Na
Jin-ah Kim
Min-seok Son
Je-rak Lee
Ki-yeon Kim
Sun-mi Myeong
Rest of cast listed alphabetically:
Hyeong-seong Jang
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Storyline

The film follows a South Korean artist as he systematically seeks out, and then guns down his real or imagined enemies.

Plot Summary | Add Synopsis

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Crime | Drama

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Release Date:

24 June 2000 (South Korea)  »

Also Known As:

Real Fiction  »

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Filmed without any re-takes. See more »

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References Titanic (1997) See more »

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User Reviews

 
The Korean Von Trier?
19 January 2006 | by (Hawaii) – See all my reviews

Another fascinating and frustrating film from Kim Ki-Duk. He reminds of Lars Von Trier in a lot of ways, in that they both have a lot of the same weaknesses along with being remarkable filmmakers. The thing that bothers me the most about both of them is the degree to which their films obviously serve as allegories. In this film in particular (like Von Trier with Dogville) this aspect is particularly emphasized to a debilitating extent. Also, it's worth noting that both filmmakers seem to have a lot of the same questionable ideas when it comes to women, but that's somewhat besides the point.

As Kim Ki-Duk's films go, this one is actually one of the more obviously ambitious and noteworthy. The whole thing was shot in real time, with a bunch of cameras running simultaneously (including one digital camera that is incorporated into the story itself, to alternately ingenious and irritating effect). Objectively, this is one of the most promising things the filmmaker has attempted, although the method is less noticeable in the final film than it perhapse should have been. Still, in the moments where the technique is used effectively (particularly in scenes shot in public places), it proves to be one of the most admirable things Kim Ki-Duk has done.

On a whole though, the film still has a fair share of flaws. Along with the aforementioned problems i have with the un-reality of his films, Kim Ki-Duk again proves he is pretty much worthless when it comes to using music. To begin with, the film (as is the case with many of his) has awful sounding, cheap music. But even then, in one scene in particular Kim Ki-Duk has the music come in at a terrible moment that ruins what could have been a very emotional scene. In other ways as well, the (understandable) low-budgetness of the project becomes glaringly obvious in a way it shouldn't, particularly in the way in which the film deals with violence.

That said, as always, there is still enough genuine talent and obvious artistic vision that shines through in his work to make me not only not dismiss Kim Ki-Duk, but make me consider him one of the most interesting filmmakers working today. Even if, on a whole, the film falls short of it's ambitions (it seemed to be attempting a lot of what Man Bites Dog had already done wonderfully), it's still a very admirable and interesting undertaking.


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