The South Korean filmmaker has proved himself adept at projects both delicate (“Spring, Summer, Fall, Winter … and Spring”) and wild (“Pieta”), and in either mode he can seem like a scientist demonstrating a preordained theory. His ideas are sharp, but the execution sometimes sterile.
The skill is still on display in “Moebius,” even if the film’s watchability is a distinct issue. It opens with a jealous wife (Lee Eun-woo) attempting to castrate her philandering husband (Cho Jae-hyun) while he sleeps; unsuccessful at this effort, she turns the knife to her teenage son (Seo Young-ju). (The characters are not given names.)
The father determines to undergo self-mutilation in order to provide his son with a replacement organ, while the son undergoes bullying and begins an ill-fated fixation on the woman with whom his father was having an affair; she’s also played by Lee Eun-woo, a casting decision that doubles the creepiness.
From there, it’s only a short hop away to genital transplant surgery, rape, incest, and — just in case anybody might be in danger of losing the thread — more castration. All of which would be impossible if “Moebius” were played as straight drama. But Kim plays it with an undercurrent of wacko ludicrousness, although the actors are completely straight-faced.
In the course of all this, Kim swings at some provocative material on the subject of family horror and the nature of power. I think that material struggles to find traction against the rampant ugliness on display, but the wordlessness is interesting.
It feels like an affectation in the early reels, a labored device. At some point it becomes haunting, as though we’re watching these fragments of scenes, in which we’ve just missed the dialogue and the encounters have been boiled down to the brutal business of staring, slapping, or worse.
The people do make sounds, but only at the bestial level: grunts, screams, groans. That’s a soundtrack to an intriguing experiment, but here I suspect it’ll get lost in the film’s bloody carnival.
“Moebius” (2½ stars)
A South Korean film full of ideas and horrors — and there’s no dialogue, either. Provocateur-filmmaker Kim Ki-duk directs this catalog of mutilations and outrages, and the results are mixed; he knows what he’s doing, but it’s a tough one to actually sit through.
Rating: Not rated; probably R for nudity, violence, subject matter
Opening: Friday at the Grand Illusion theater
More Entertainment Headlines
Paul Allen lures tech billionaires to Seattle Art Fair Tired jokes bog down latest ‘Vacation’ offering Wednesday’s highlights on TV Caitlyn Jenner reality show is light years away from ‘Kardashians’ Two expecting moms forge unlikely bond in ‘Unexpected’ ‘A Full Life,’ Jimmy Carter at 90 remains a wise truth teller Incoming late-night TV hosts appear less political than their predecessors Saturday’s highlights on TV
Our to-do list full of ideas for your weekend
Our new comment system is not supported in IE 7. Please upgrade your browser here.