Anssi Vartiainen The Isle is one of the few movies I've seen in a long time where silence is used to its full extent. It's a movie of very little music, very few lines of dialogue and even the ambient sound is that hollow echo of a lake where everything is muted and misty. And yet it works so well for the purposes of this particular story.Hee-jin (Jung Suh) is a mute young woman who runs and maintains a removed lake fishing resort where a fleet of floating cabins are rented for those wanting peace and quiet. Most of her usual customers are middle-aged men who are mostly interested in fishing, drinking and occasionally her body. Our story starts when a disquieted man (Yoosuk Kim) arrives at her resort, looking to hide from the world.The Isle is a movie of reflection. It's that lazy hour sitting on the porch, drinking coffee, staring at nothing, thinking nothing in particular. And thus, when things start to build up, it takes you a moment to shake off the cobwebs, allowing the movie to deliver some real gut punches. At its heart of hearts it's a thriller, but honestly I have rarely been as nauseated or scared by a horror movie than I was by this one.The Isle is a fantastic movie for someone looking for a quiet thriller that takes its time and trusts itself enough to allow for the suspense to build as slowly as it needs to build. The pacing is just perfect, the story ends just when it needs to and as a whole it's an experience. Highly recommended.

tnrcooper The movie itself is amazing. I think it would be amazing without the violence toward animals. There is no need for it. The human behavior toward one another is horrible without bringing animals into it. The tortured souls trying to reach one another are amazing characters. They try to reach each other but the internal struggles keep them apart. Hee-Jin (Jung Suh) runs a business renting out little shacks on a lake to men who come to fish and consort with prostitutes. From time to time Hee-Jin also offers her body to the men. Usually they're loud, boorish men, but one day, a quiet, troubled man named Hyun-Shik (Yoosuk Kim) comes to stay. The two have their demons though and their troubles combine to ensure a painful story of two souls who can't quiet connect. The acting is great, the cinematography is very good, and so is Kim Ki Deok's direction. This is obviously not a happy movie so there isn't as much need to convey such a wide range of emotions as in some movies. That said, Jung Suh and Yoosuk Kim are very understated and their actions, as bold as some of them are, fill in admirably for overstated emotionalism. Some of the scenes are almost impossible to watch for the physically wrenching pain they represent. There are undoubtedly things in here you have never seen on film. The contrast of a serene environment and emotional alienation is jarring. I really wish Kim Ki Deok wouldn't use animal violence in his movies. There is no need for it. Yes, it might enhance the sense of emotional violence, but it's completely uncalled for. Kim Ki Deok highlights the turbulent inner lives of troubled souls and shines light on them. It's not pleasant but it is powerful, brave film-making casting a light on those whom society forgets.

Desertman84 Kim Ki-duk's The Isle is definitely a great film that has an unlikely appeal and it is definitely not for the weak at heart. It stars Suh Jung and Kim Yoosuk as the mute Hee-Jin and a man running from the law,Hyun- Shik respectively.Both are an unlikely couple who develop a love for each other despite the unusual circumstances. The story is about Hee-jin, who operates a fishing resort, where she rents out small floating cottages and ferries her customers back and forth between land and the floats, controlling the only means of transport around. She also dispassionately takes care of her customers' needs by selling supplies, providing prostitutes or occasionally acting as one herself. However, when a man running from the law,Hyun-shik,comes to the resort, a bond starts to form between them.He arrives at the resort and is ferried to his float by Hee-jin. There is nothing unusual about their business relationship from the onset, but eventually Hee-jin is intrigued by Hyun-shik's feelings of depression and desolation. When visiting his float one time, Hee-jin still resists Hyun-shik's forceful advances but does call in a prostitute to service him. Hyun-shik, however,only wants companionship from the prostitute and a relationship starts to form between them.However,an unlikely bond and relationship developed between them.Hee-jin looks after Hyun-shik, even saving him from two suicide attempts,the second one accomplished gruesomely by swallowing a string of fish hooks. A prostitute continues to take more and more time off her schedule to visit Hyun-shik, oblivious to his troubles and eventually Hee-jin becomes jealous. During one visit, Hee-jin ferries the prostitute to an empty float instead of Hyun-shik's, ties her up and duct tapes her mouth shut, which eventually leads to her death as she falls into the sea.The prostitute's pimp, who comes to find out what's happening, is also killed by Hee-jin.After the murders, Hyun-shik's and Hee-jin's relationship stalls.He wants to leave the resort,but she won't let him. When he attempts to swim out,she has to save him and take him back to his float.Then he takes the boat and is set to leave. Hee-jin apparently attempts suicide in an effort to stop him by stuffing fish hooks into her vagina and falling into the water. This time it's his turn to save her, by reeling her in with the still attached hooks.Both continue their troubled relationship. A prostitute accidentally kicks a man's rolex into the water, infuriating him. He calls divers to have them retrieve the watch. The divers discover the bodies of the prostitute and the pimp while Hee-jin and Hyun-shik wordlessly take off on his float. The film concludes in enigmatic fashion when it shows Hee- jin's dead body floating in the boat.The movie tries to explore about two people who are affected by depression and desolation as well as the primal behavior and brutalities men are inherently capable of.Aside from that,it also tries to examine the complexity of the relationship between Hee-jin and Hyun- shik especially the emotion of loneliness and one's need of companionship.The movie is not without controversy as some elements of the film like the use of fish hooks during attempted suicide scenes can present horror to the viewers. Finally,this film will definitely leave a big imprint into one's thoughts especially the final scene wherein it seems that Hyun-shik apparently killed Hee-jin in the end.It will encourage discussions in terms of the sense of brutality a human being is capable of.The film was well-acted.Sexy Korean actress,Suh Jung,whom I have previously seen in Green Chair and Yellow Flower,shines in this movie as her capability to show emotion without uttering a single word is a feat indeed.She truly captured the emotion of unhappiness and need for love that Hee-jin wants.I find a lot of honesty in her performance as she managed they get the viewer's sympathy for her character.This is the best film I have seen her to date.No question that she is not only a good looking actress with a sexy body but a talented one as well.She also shared a great chemistry with Kim Yoosuk,who was credible as Hyun- shik. Added to that,Kim Ki-duk's direction was masterful as the viewer is completely engaged in the story from beginning to end.Aside from that,he also managed to get us interested and make us care about Hee-jin and Hyun-shik and the development of their complex relationship.Overall,this is one film that would definitely not into everyone's liking but nevertheless,it also would once more prove that movies can be used to examine even the most awkward of themes which is that of the primal behavior of human beings and as well as the fact that Koreans are once more one of the most creative when it comes to making movies.

markbeardslee Is this the same Kim Ki Duk who directed the poignant, life-spanning testimonial of "Spring, Summer, Fall, Winter and Spring"? The same Kim Ki Duk who directed the exquisite, nearly silent, heartbreaking longing of "3 Iron"? The same Kim Ki Duk who dazzled us with the staggering tragedy of "The Coast Guard" and made us squirm about the ugliness of nonchalant teenage prostitution before returning to his almost patented nature motif to allow us all (characters and viewers alike) to experience redemption in "Samaritan Girl"? I just cannot seem to find him in this film.Oh, sure, Kim's nature motif is still present. The film takes place entirely on a lake surrounded by mountains and on fishing floats resting placidly on the surface of calm waters. Yes, it's Kim Ki Duk, all right. Kim even describes the film as "beautiful" in an interview included in the DVD's special features. But I'm not sure anymore what that means after viewing this putrescent presentation.What is beautiful about angry, potty-mouthed prostitutes, lustful, violent and potty-mouthed fishermen, a covetous mute merchant, explicit animal torture, sequences of self-mutilation and a pace that swings nauseatingly between bestial carnality and mindless brutality? These are the only elements of humanity that present themselves in this utterly confounding and ultimately pointless film. If it is based on a fable or intended as a parable or is meant to be symbolic of something greater, this reviewer is unfamiliar with the source material. It has been favorably compared to "Audition" by Japanese director Takashi Miike (much to Kim's satisfaction), but aside from some astonishingly good performances, especially given what they had to work with, by lead actors Seo Jung and Kim Yoo Suk, I find little reason to recommend this film. I have not seen "Audition," but I doubt it would alter in any way my view of "The Isle." Its violence is pornographic and senselessly sadistic. Its sex is not pornographic, but passionless and masochistic. Characters behave on irritating impulse because there is no plot. Its point is either non-existent or, I will admit, lost amidst Korean cultural quirks that I fail to understand.The only beauty is in the cinematography, which is classic Kim: fog-shrouded boats lapping slowly across a serene lake, mountainous terrain dominating the background, and an imaginative and playful use of color. At times it seems as if viewers are locked in a big Kim Ki Duk romper room. Some touches, like the mysterious and seductive mute merchant played by Jung and the pleasantly odd use of motorbikes, are intriguing. But as a film, this effort is downright confusing and, in the end, offensive to the senses, not necessarily to sensibilities. One hopes that Kim will leave this kind of film-making in the trash heap of his past, for we know he is capable of so much more.