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Descriptions du produit
"Langues et formats sonores :Coréen (Dolby Digital 5.1 )
Sous-titres : Français et Néerlandais.
Format image :16/9.
Zone 2 (Europe, Moyen-Orient & Japon)
" --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
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Des bungalows de pêche flottants, séparés les uns des autres d'une centaine de mètres.
Des hommes qui viennent pêcher.
Des hommes qui viennent avec leur maîtresse.
Des hommes qui viennent se cacher.
Au moins un, qui a assassiné sa femme et l'amant de celle-ci.
"The Isle" est un "Empire des sens" coréen extrêmement convaincant, mais à réserver à un public "averti". Ce n'est pas "Salo ou les 120 journées de Sodome", mais presque...
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Hee-jin (amazingly beautiful Jung Suh, also known as Seo Jeong) is a supposedly mute boat keeper. She supplies bait and food to the relaxing fishermen in the lake by day, and at night, she sells her body to the selfsame fishermen. One day, a man named Hyun-Shik (Yoo-Suk Kim) arrives, who supposedly came to fish but he is a man on the run from the law and is actually considering suicide. Hee-jin grows curious with Hyun-Shik and seemed to have developed a fondness for him. She watches him from the shore when he finally decides to commit suicide and she intervenes. The two begin to form a strange bond that may be beyond our basic instincts.
The little fishing village is a perfect backdrop for writer/director Kim Ki-Duk's film that borders on being a twisted fable and a conventional horror film. Now, even with its scenes of violence and animal mutilation, it is not a horror film; rather, it is a drama that tackles violent and obsessive behavior full of emotional content in a very direct way. When Hee-jin becomes abused by the fishermen after having sex with her, she responds with a violent fury that almost seems psychotic when she takes her revenge. "The ISLE" has very limited dialogue, the two lead characters hardly speak to anyone but their actions more than speak for themselves. It also has the most disturbing sequences with a fish hook that I've ever seen.
The movie is an examination of relationships between men and women. Kim is very fascinated with gender and relationships so he puts this factor in center stage. The two actually have a "Lynchian" type love affair. When Hyun-Shik tries to force himself on Hee-jin and she refuses, she sends him a prostitute that he befriends and she becomes extremely jealous. The sex scene between the two is erotic but at the same time, twisted. The slightly psychotic Hee-jin transforms into a romantic one when she is in Hyun's presence. Actress Jung Suh is thoroughly convincing as her character swings from one emotional mood to the next. No wonder she has become renowned for her role in this film. As the unusual bond develops between the two, their attachment to each other grows, both physically and emotionally. When one is hurt, the other responds in kind. Enter the Fish Hook.
Kim also shows just how the marginalized world of the lake operate; each gender is dependent on one another. Men are fishermen, pimps, criminals and cops. Women clean and provide care, sex and amusement. Both sexes are also potential adulterers which gives them common ground. In this world, both men and women play typical roles, and while in this world, men are considered the stronger of the two, but they are also very reliant on women. Hee-jin provides the boat, the only means of transport, food, to clean and sexual services. The relationship between the two is dependent on one another. Men are rendered incomplete without women as are women are also fairly incomplete without men.
There are subtle metaphors in the film and the key images in the film are enhanced by stunning visual flair. The shots become frozen in time as certain key elements and themes are driven home by visual manipulation. The film is a little slower paced that allows the viewer to properly absorb its sequences. The film does feel a bit longer than it actually is because the camera lingers at times. The direction and storytelling depends on its imagery.
THE ISLE is a worthwhile film and has become among my favorites by Kim Ki-Duk. Those who prefer straight-forward storytelling will be alienated but those who love challenging cinema with an "art house" thought provoking style will be rewarded. Kim doesn't really explain the climax in a conventional manner and leaves it to the viewer's interpretation. Kim excels in the surreal that may frustrate viewers but his style is definitely powerful. The film is well balanced but requires patience in order to be appreciated. Those with the correct mindset will be rewarded with "The Isle".
HIGHLY RECOMMENDED! [4 ½ - stars]
Note: The U.S. release is not the uncut edition with extended scenes of lizard and fish mutilation and an unexplained dog abuse. I own the uncut edition. Websites list the woman as Hee-jin but her name is never really mentioned in the film.
The Isle begins with a man, Hyun-Shik (Yoosuk Kim), that arrives to a remote lake, possibly connected to the ocean, with what seems to be all of his belongings. A birdcage with a bird is among the items that Hyun-Shik brought, which has a symbolic meaning as he removes himself from land by renting a small hut floating on a raft. There is no connection with land, except by a woman and her old boat, but it seems to be what Hyun-Shik seeks as he begins to dwell on his wrongdoings that led him to seek shelter at this remote location. In deep contemplation and agony Hyun-Shik considers to commit suicide as he has apparently killed someone of importance in a moment of vengeance. It becomes an overwhelmingly internal struggle for Hyun-Shik whether to pull the trigger, or not, as he weeps out his anguish.
The other main character is an emotionless woman, Hee-Jin (Jung Suh), who watches over the lake and the inhabitants of the many huts that she rents out. In many ways Hee-Jin behaves like a fish as she nurtures her visitors as if they were her babies. She brings them food and frequently ventures to the cabins at night to give herself to the visiting men. There is no emotional connection for Hee-Jin with the men, it merely seems to be something she does for some unknown reason as she does not say anything, or ask for anything in return. However, one of the men that Hee-Jin copulated with insults her by throwing money in the lake, which is an analogy that expresses the man's way of displaying how it was a waste of time and effort. In anger Hee-Jin acts out in the middle of the night while the man who offended her is about to make a nightly toilet visit into the lake.
When a person is aware that he or she cannot experience compassion, feelings, or emotions it becomes a quest to conquer what most people find to be an ordinary experience in order to remain strong. Hee-Jin discovers Hyun-Shik suicidal and weeping in a pathetic display, yet she feels something, which she cannot define. Hee-Jin begins to explore what she felt by killing frogs and fish, which she attempts to feed to Hyun-Shik's bird. In loneliness Hee-Jin drinks alcohol without effect as she approaches Hyun-Shik with the bottle, which the man presumes to be a sexual invitation. As a result, Hee-Jin hits Hyun-Shik and returns to land as she insults him by hiring a prostitute for him, but she discovers something called envy. This leads the unbalanced couple into an eye wrenching display of bizarre self-disfigurement as they strive to remain within a tormenting relationship that is embedded in pain and suffering when Hyun-Shik seeks distance.
The director, Ki-duk Kim, portrays Hee-Jin and Hyun-Shik in an internal struggle where the affection for one another expands as they discover more about each other through gut wrenching scenes. The artistic background of Kim is evident as the Isle becomes a stunningly beautiful film to view as several scenes depict skilled framing of each scene. It should be mentioned that Kim's later films Spring, Summer, Fall, Winter... and Spring (2003) and Samaria (2004) display his visual cunning as they also offer the audience visual analogies that are planted within the film for the audience to ponder. Some of these seeds that Kim sows within the visuals of the Isle display several notions that should be be reflected upon such as existentialism, Darwinism, moral issues, and emotions. Kim succeeds efficiently to grasp the audience and force them to ponder, as the film leaves most of what is depicted to the audience's own interpretation.
This beautifully shot film centers on a small fishing facility, it's owner and a fisherman--both characters are very disturbed and by the conclusion have bonded in an unusual, altogether unpleasant way. There is very little dialogue and the acting, especially by the leads, is quite good.
More disturbing than the heralded swallowing of fishhooks sequence is the actual violence enacted towards live fish. Was it necessary? Not really but the film is worth seeing anyway.
"The Isle" wallows in enigmatic symbolism and bleak images. The entire picture revolves around an isolated lake up in the mountains where people go to fish. A very attractive mute young lady, Hee-Jin (Jung Suh), works as the caretaker of the lake, a job that entails renting little colored floating cabins to guests and supplying said cabins with whatever the visitors need. In some cases, the men on these little getaways require quite a bit from Hee-Jin, a requirement that she readily acquiesces to for the right price. She's not without a vindictive streak, however, and will punish anyone who mistreats her by tipping them into the water or through other mean-spirited tricks. Hardly a mean thing to do, really, unless you cannot swim, which is what happens to one jerk when he fails to do right by Hee-Jin. Actually, most of the people visiting the lake are jerks of one sort or another. Even the harridans and their violent employer, who show up at the water's edge from time to time at the request of a guest, are decidedly unfriendly. Most of the film focuses on Hee-Jin's seemingly mundane daily activities and the people who visit the lake. Everything changes when a depressed loner by the name of Hyun-Shik arrives on the scene. He rents a floating cabin and stays there much longer than anyone else does, and it's obvious he isn't that interested in fishing. The stranger piques Hee-Jin's interest.
Through a few quick flashbacks, the movie reveals that Hyun-Shik is actually a man on the run, a fugitive from the law for a crime he committed prior to arriving at the lake. In his other life he was a police officer, but he was also an extremely jealous, possessive man who killed his significant other. During his tenure on the water, Hyun-Shik generally keeps to himself until Hee-Jin gradually intrudes on his life. She introduces him to the wonders of fishing and rescues him after the police turn up at the lake looking for fugitives. In an effort to escape the long arm of the law, and since he's trapped on a float in the middle of a lake with no means to reach the shore, Hyun Shik swallows a bundle of fishhooks in an effort to escape incarceration. He needn't have gone to such extremes, however, as the police find another man to arrest and leave. Oops. Talk about an overreaction of a lifetime! Fortunately, Hee-Jin powers up in her little boat and nurses the ex-police officer back to health. The two then strike up a tempestuous relationship that leads to murder, Hee-Jin's own encounter with fishhooks, and a truly enigmatic conclusion that left me scratching my head in confusion.
I spent more time paying attention to the atmosphere of the film than I did trying to decipher the characters' motivations. The lake is a grim, brooding body of water located in the middle of nowhere, often shrouded with fog and haze. The little floating cabins and a few of the people who come to stay for a few days represent the only real color seen in the film. What does that mean? Well, perhaps it hints at the nature of Hee-Jin's and Hyun-Shik's self-imposed isolation from the rest of the world. More interesting is the symbolism of the fishhook atrocities, a particularly interesting symbolism seeing as how it is tied to the purpose of those who come to the lake. The customers stay to catch fish, but Hee-Jin and Hyun-Shik catch each other by using emotional pain as bait. Each responds to the other more directly after the hooks dig into the other's flesh, realizing that they are both similar in outlook and nature. That their relationship results in the taking of a life shouldn't be too surprising considering how damaged both of these people are. "The Isle" means something like that--I don't know. My experience with films like this tells me that those viewers without knowledge of the culture in question (re: me) probably won't grasp the finer points of the plot.
The DVD version of "The Isle" includes a music video, a making of featurette, interviews with the cast and the director, a trailer, and trailers for "Tuvalu," "Merci Pour Le Chocolat," and "The Trial of Henry Kissinger." Although I am sure I missed a lot of what the movie tried to achieve, one cannot deny the beauty of this film. It's highly unlikely an American studio will remake this depressing picture, though; they like material with a lot of flash and fire, which makes "The Isle" far too subtle for their tastes.