Moebiuseu (2013)

Moebiuseu: Directed by Kim Ki-duk. With Jae-Hyun Cho, Yeong-ju Seo, Na-ra Lee, Jae-hong Kim. A father driven into desire, a son coveting that of his father’s, and the sorrowful maternity that hovers them into tragedy.

“Have you ever watched a film that brings your endurance to explicit (even sick!) blood and sex violence to its very limit while at the same time makes you laugh and depicts with smart (yet explicit!) cleverness one of the basic essentials of Buddhism?… No, Iu0026#39;m not trying to bring opposite worlds together, but Kim Ki-Duk did, in his film Moebius.u003cbr/u003eu003cbr/u003eA truly masterpiece of cinema in its pure essence, compelling and with an stunning economy of resources: few settings, few actors, even the two female roles are played by the same actress (Eun-woo Lee) in an outstanding performance. Moebius tells a story with deep metaphysical symbolism using just images (there is no dialogs) and focusing exclusively and with dazzling clarity on the points important for the story and its meaning, namely the search for physical pleasure concomitant to the nature of every human being, and the main protagonist of this: a part of the male anatomy known as u0026quot;penisu0026quot;.u003cbr/u003eu003cbr/u003eOnly after the last scene, when the young protagonist bows before Buddha, one can understand the whole meaning of the film, every piece fits then perfectly in the puzzle (emotional puzzle, we are not talking about crime and mystery here). Then we understand that pleasure (the main, maybe the only important one: sexual pleasure) comes always at a price in this world; pleasure involves pain one way or another. Not once in the film pleasure brings any kind of satisfaction or happiness, instead it causes distress, sorrow, guilt, pain, immediate or in the long term; many of the scenes in the film show the attainment of pleasure directly through pain, and with more pain as a consequence. u003cbr/u003eu003cbr/u003eCAVEAT – SPOILER IN THIS LAST PARAGRAPHu003cbr/u003eu003cbr/u003eBut then, in the end, the young protagonist frees himself from this tie, through the most direct way: castration (well, there are actually several of these throughout the film, so WARNING for sensitive viewers!), and later, bowing before Buddha, he does something he had not done even once during the film: he SMILES, as Buddha did. He is released now from human passions, no longer slave of his desires, no longer subject to the inescapable search for pleasure of the physical body. He is now FREE”