Inkan, gongkan, sikan grigo inkan | Human, Space, Time và Human by Kim Ki-duk
KOR 2018, Panorama
Inkan, gongkan, sikan grigo inkan | Human, Space, Time và Human by Kim Ki-duk
KOR 2018, Panorama
Inkan, gongkan, sikan grigo inkan | Human, Space, Time và Human by Kim Ki-duk
KOR 2018, Panorama
Inkan, gongkan, sikan grigo inkan | Human, Space, Time & Human by Kim Ki-duk
KOR 2018, Panorama
Inkan, gongkan, sikan grigo inkan | Human, Space, Time and Human by Kim Ki-duk
KOR 2018, Panorama
Bạn đang xem: Human, space, time and human
A group of very different people set sail on an old warship. The passengers include a senator with his son, a newly-wed couple, a mysterious old man, a group of sex workers & a gang of violent criminals. Korean director Kim Ki-duk doesn’t waste any time before mercilessly letting his characters loose on each other in this confined setting. At first the aggressive behaviour of the thugs & their leader is directed at the first class passengers, but then more và more indiscriminately against the rest of those on board. Rape is followed by murder & it’s not long before the first of numerous và increasingly brutal mutinies takes place. And then, when a view of the ocean reveals a sea of clouds instead of water, it looks as though the ship’s social microcosm has finally come apart. All the protagonists in this film remain nameless and without a biography, the only thing that counts is the breathless here và now, which becomes a parable about the beast that is humankind. In a dramatic interpersonal downward spiral, the cruel fight for food & survival ultimately veers into the fantastical.
by Kim Ki-duk with Mina Fujii, Jang Keun-suk, Ahn Sung-ki, Lee Sung-jae, Ryoo Seung-bum, Sung Ki-youn, Joe Odagiri Korea 2018 Korean, Japanese 122’ Colour
With
Mina Fujii (Eve) Jang Keun-suk (Adam) Ahn Sung-ki (The old man) Lee Sung-jae (Adam's father) Ryoo Seung-bum (gangster boss) Sung Ki-youn (Captain) Joe Odagiri (Eve's boyfriend)Crew
| Director | Kim Ki-duk |
| Written và Directed by | Kim Ki-duk |
| Assistant Director | Moon Si-hyun |
| Cinematography | Lee Jeong-in |
| Editing | Kim Ki-duk |
| Music | Park In-young |
| Sound | Jeong Jong-ho |
| Sound Design | Lee Seung-yup, Kim Young-rok |
| Production Design | Kim Young-tak |
| Costumes | Lim Ju-hyun |
| Make-Up | Lim Ju-hyun |
| Executive Producer | Kim Ki-duk |
| Producer | Kim Dong-hoo |
The film begins with a supposedly one-week cruise trip on a once warship where the passengers come from various cultural & social backgrounds, including the Presidential candidate, the power-driven middle-age senator and his son, the young lovers, the Japanese newly-weds, three prostitutes, a group of gangsters led by an immoral & sly rascal, and a mysterious old mute man. Symbolic of a social microcosm, the ship reveals injustice, as the senator và his son receive better accommodations & diets than many other passengers. The unfair treatment triggers antagonism from the newly-weds, & their ensuing tragic ends; the husband is killed and thrown khổng lồ the ocean, & the wife massively raped by the lust-driven senator, senator’s son & the gangsters. As if a curse is cast on the ship, the passengers và the ship crew awaken from a slumber after the murder and chaos only khổng lồ find that the ship is suspended in the sky. The crew fail lớn navigate or identify their locations, making the flying ship wandering and drifting in the sky. As time goes on & the journey seems to lớn go nowhere, the passengers start to fight for limited supplies. The armed senator and the gangsters control the ship but they run the ship again in injustice. Unlike other passengers who remain helpless or submissive, the old man quietly collects dirt & earth, places seeds & potatoes, and hatches a chicken from two eggs. After a cannibalistic massive killing, only the raped woman survives, and gives birth lớn a boy; altogether they live in the Edenic garden planted by the old man.
The film aptly recalls Friedrich Nietzsche’s poignant statement, “God is dead. God remains dead. & we have killed him. How shall we comfort ourselves, the murderers of all murderers?” Amid the sense of loss, chaos & nihilism where God no longer exists, people are thrown into an abyss without knowing what to bởi or where lớn go, as Nietzsche continues, “What did we vì when we unchained the earth from its sun? Whither is it moving now? Whither are we moving now? Away from all suns? Are we not perpetually falling? Backward, sideward, forward, in all directions? Is there any up or down left? Are we not straying as through an infinite nothing? bởi we not feel the breath of empty space?” It is exactly this godless state that humans are propelled to lớn confront. What’s more, in this world without God, what remains is the fight for survival. If, according lớn Charles Darwin, only the fittest và strongest survive, then, how can homo sapiens define “humanity” or human nature, or simply human life? These are the questions addressed in this film.
The film manifests itself as a parable in which various cultural & religious metaphors are appropriated, including the Laputa in Gulliver’s Travels, and the Bible’s Noah’s Ark. The ship undergoes various transformations: a warship, a touring ship, a flying ship of suspense, & a (dys)utopia. Metaphorically, “suffused with the blood smell,” the ship is the epitome of human world where blood has been shed for centuries in various battlefields. When the ship turns khổng lồ be a flying Laputa where humans are challenged by extreme conditions of scarcity và danger, they vì not differ much from other species. This resonates with what Giorgio Agamben suggests “a state of exception” where humans are “bare life” and in the state stripped of law, order or morality, bare life’s (self-imposed) sacrifice is necessary & essential. Seen through the lens of Agamben’s “bare life,” the film further illuminates the significance of bare life. What implies in the bare life is the double meaning: its animalistic “life form” và its transcendent life force. When humans are no longer subject to lớn any moral laws or order, how can they khuyễn mãi giảm giá with others? What meanings can we derive from life? As is revealed in the film, though a bare life is pathetic and pitiable, it is considered “sacred”, like the required sacrifice in the rite of worship. In the film the old man prophesizes the demise of the world & is aware of his mission. He goes on with his endeavors preparing for the apocalypse even though he witnesses rape, murder, brutality và cruelty. The way he treats cadavers seem cannibalistic; human bodies are either chopped or burned khổng lồ be earth compost for plants. He makes the best use of all materials as he realizes that waste or not, human flesh or blood will turn out lớn be nutrients for the earth and the source for human livelihood.
Like the Death or Tower in Tarot, destruction always accompanies resurrection. The film recalls several biblical allusions. The notoriously sinful thành phố of Sodom has to lớn been destroyed by “sulfur and fire” in order that faith be restored. Noah built an ark, placing pairs of animals on board, preventing themselves from the world-engulfing flood & eventually saving và preserving their lives. In the same manner, the old man collects the seeds, the dust và eggs in order to lớn plant the garden because he knows that when it becomes fruitful và the chicken increase, human life will be sustained. However, in all cases, waiting with patience is essential. As the Eva character interprets the old man’s silence, “No plants can be eaten before fruiting; no chicken can be eaten without laying eggs,” waiting for the divine timing is imperative. In front of God’s larger canvas of divine plan, humans should follow the order of temperance & wait for the right time to lớn arrive.
Temporal and spatial finiteness in tandem with divine infinity are the theme of the film. The old man wears a mysterious smile, despite his muteness. He is the epitome of “God” và his last tribute khổng lồ the Adam & Eve characters, is his flesh & the remaining blood trace of footsteps is the sign of infinity:∞. Time, space & human life are limited & finite, but divinity is infinite. Like Shakespeare’s quote in As You like It, “All the world’s a stage, & all the men & women merely players; They have their exits và their entrances,” the senator’s last words are “we are merely playing roles.” Humans play roles on stage & will have exits when their lives end, but their demise will lead khổng lồ the rebirth in other forms, as long as they have faith in divine infinity. The garden will continue khổng lồ thrive beyond any boundaries of time and space.
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Note:
The Adam & Eve characters played by Jang Keun-suk and Mina Fujii give a surprisingly refreshing outlook for the film. Mina Fujii’s often pale and slim figure with her dress signifies an ethereal but tenacious maternal beauty. Though traumatized by the rape, she decides to keep the “fleur du mal” và raises the child. As the film unfolds, she turns from innocence and purity khổng lồ maturity and strength. Jang Keun-suk, on the other hand, plays the role of Adam, playing various phases of Adam. Initially from a snobbish, standoffish dandy to lớn the man whose conscience is awakened by Eve, driven by lust, Jang presents the many faces of Adam in a subtle và delicate manner.
Sources for the pictures: 韓國Finecut及台灣飛行國際視聽股份有限公司
Jade Tsui-yu Lee is a Professor và Chair of the English Department at the National Kaohiung Normal University, Taiwan.