re:mote voices

Title: The Isle [Seom ]
Cast: Jung Suh, Yoosuk Kim, Sung-hee Park, Jae-hyeon Jo
Director: Ki-duk Kim

A couple of years old now, The Isle has finally gotten a UK release, after having nearly two minutes of material cut. Unfortunately, like Spring, Summer, Autumn, Winter… And Spring Again, the other film by kim ki-duk to show in the UK this year, The Isle is marred by animal cruelty. A fact which is evident even with the more extreme scenes having been removed from this version of the film.

Showing as part of this year's Asia Extreme season, The Isle fits into the half of the season which doesn't fit. Which is to say, there is the half comprised of Ju-On, Phone and A Tale Of Two Sisters, all fitting together as obvious examples of the extreme Asian films, at least in terms of horror. Then there are films like Gozu, or the forthcoming Save The Green Planet, and indeed The Isle.

To some degree The Isle is actually very similar indeed to Spring, Summer, Autumn, Winter… And Spring Again, even past the inclusion of animal cruelty. Both being set in very similar scenes, with close themes, and the use of very little dialogue. A mute woman runs a kind of fishing camp - a lake with series of tiny floating huts. The huts are serviced by this brooding woman - delivering food and drink, as well as occasionally providing sexual services. Things start with the arrival of a young man, equally troubled and tight lipped; though we do hear him speak a few times.

To a degree The Isle reminds in some ways of Magnus Mills' Three To See The King. The idea of the isolated little houses, with curious characters interacting in their own odd ways. Indeed they both have a certain sparseness, allowing the story to come through without being densely written.

Even with the spare feeling to the film and the way it is a lot more understated than any of the other films in the series so far, The Isle fits into the season. The undercurrents and glances contain a darkness, speaking of the character's history without spelling out every detail. The woman proprietor is a particularly conflicted character, everything coming across from her expression and actions. At no time does she speak, and at no time do we find out anything about her - but the reason the film works is because it is enough to be given the sense of something. I guess in some ways it is like a monster movie, when you catch grisly glimpses, there is more tension, than when the monster is revealed to be just a bloke in a rubber suit.

In some ways kim ki-duk has a lot of potential - his composition of visuals is striking. The two films I've seen have been very light on dialogue, which provides an extra focus on those visuals, but by the same degree that will be a problem for some film goers. As will kim ki-duk's growing reputation for animal cruelty, which is already over shadowing his ability as a filmmaker.