Cast overview, first billed only: | |||
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Eol Lee | ... | Yeong-ki |
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Ji-min Kwak | ... | Yeo-jin |
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Yeo-reum Han | ... | Jae-yeong (as Min-jeong Seo) |
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Hyun-min Kwon | ... | Salesman |
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Yong Oh | ... | Musician |
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Gyun-Ho Im | ... | Tidily Guy |
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Yun-su Jeong | ||
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Jong-gil Lee | ... | Happy Guy |
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Taek-gi Sin | ... | Suicide |
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Jung-gi Park | ... | Murder Victim |
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Gul-seon Kim | ... | Second Salesman |
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Seung-won Seo | ... | Man in his 30s |
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Jae-ik Yu | ... | Pedestrian |
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Soo-Jeong Lee | ||
In-gi Jeong | ... | Ki-Su |
Jae-Young is an amateur prostitute who sleeps with men while her best friend Yeo-Jin "manages" her, fixing dates, taking care of the money and making sure the coast is clear. When Jae-Young falls in love with one of those man she suppresses her feelings towards him in respect of her friend who's jealous. One Day Yeo-Jin fails in doing her job overlooking police officers looking for under-aged prostitutes. In order to not get caught Jae-Young jumps out of a window almost killing herself. On her deathbed, she wishes to see the man again whom she fell in love with and turned away from. But the man only agrees if Yeo-Jin sleeps with him. She does but as they arrive in the hospital Jae-Young is already dead. Trying to understand her best friend, Yeo-Jin tracks down every man she slept with and does the same. As her father learns about this he gets on revenge with fatal consequences... Written by Seth
Ultimately I liked this a lot, although it was very strange. It went through at least three completely different, distinct tones and styles over the course of the film. At first it played like a slightly skewed, but still rather melodramatic, teen drama, almost like one of those Korean soap operas. Very different from my previous exposure to Kim Ki-Duk. Then it started to become a violent revenge story, like something Chan Wook-Park would do. Still sort of more conventional than other Kim Ki-Duk though, not at all minimalistic or slow. The beginning part was actually somewhat contrived, not like an "art" film at all, in any sense of the word. But then, in it's last third, the film becomes an abstract road movie, much more in the style i've previously associated with Kin Ki-Duk. I certainly can't say that this is a consistent film, and the pacing was obviously rather uneven given the gradual transition from borderline-conventional melodrama into minimalistic, impressionistic art film, but overall there was something about it that I liked a lot. Through all the muddledness, i can tell that Kim Ki-Duk is an interesting filmmaker. There's obviously something going on in his films worth taking note of.