Watch Moebius For Free

Boring

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

The best films of this genre always show a path and provide a takeaway for being a better person.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

Since this film is on Netflix right now (as of November 2015), and I'm admittedly a little too enthusiastic about violent films, I decided to give this one a whirl a few days ago, and despite the passage of time, every image is still fresh in my mind.This film, for those who are unfamiliar, depicts a mother carrying out a rather extreme act of revenge upon her cheating husband, but hurting the one thing they both love-- their son. After a failed attempt at castrating her husband, she goes into their son's bedroom and castrates him instead, swallowing his penis in order to ensure that it won't be easily reattached. She departs in a grief-stricken haze, leaving the film's events to spiral even further out of control in her absence.Moebius, as many previous reviewers have mentioned, is completely void of dialogue, and though some might consider this to be off- putting or boring, it seems to make the film even more compelling-- besides, there are more than enough cries of pain to keep the film from being completely silent.Since I have heard and read about Kim Ki-duk's less-than-stellar treatment of women and animals in his films, I was a little concerned going into this film, as I'm sure other viewers will be, as well. If my memory serves me, this film, unlike other features such as The Isle (2000), is free of scenes depicting cruelty to animals (which I was glad of, considering that they added nothing to the plot). However, the film still seems to carry tinges of misogyny, containing a rather upsetting rape scene just as many of Kim's previous films do. The female characters, however, do seem to be better fleshed-out than in The Isle, which at the moment is the only other Kim Ki-duk film I have seen, so we can at least assume that positive progress has been made in the last few years. However, I really would have liked to have seen more character development particularly in the case of the Mother, and particularly character development that didn't revolve around the men in the film (but then, I suppose it would be hard for a film with no dialogue to pass the Bechdel test). What carried this ambitious and slightly scattered film was definitely the actors. The accomplishments of the actors, to be able to convey such emotion without the crutch a text provides is amazing. Despite the treatment of her characters being questionable, Lee Eun-woo's performance as both the Mother and the Mistress was nuanced and forceful at the right times, and her gift for nonverbal communication carried what could have otherwise been an utterly nonsensical film, making it almost believable.All in all, though it feels a little obvious to me, I will say it anyway-- the squeamish should avoid this film, especially if genital mutilation and self-harm of any kind are especially triggering for you (the latter is shown more graphically than the former, and I found these scenes in particular to be upsetting). Even if you have a stronger stomach, proceed with caution, but if you feel you can handle it, Moebius may prove to be a very rewarding cinematic experience.

This movie is an experiment. it respects modern parameters, image and sound, but minimizes expressing pain, externalization: characters communicate, but they don't articulate language, they don't need it as a tool, as an aesthetic concept of the whole film. The story seems to resemble to a bloody Greek or Shakespearian tragedy: the hybris happens and, though you hope for a good remedy, everything ends in a blood bath. SPOILER!Plot: The sin of the Father is passed onto the Son, through the murderous hands of the Mother. Mother punishes the innocent Son, cutting off his manhood, instead of Father's, like she wanted in the first place, but couldn't. The sin aggravates, building up on another and another, culminating with incest, death may be a solution to the perpetrators. Another meaning is that, like the mathematical theory in the title, what may seem the earthly gruesome end for something, can be the sure way to a better holy knowledge that comes with a price. Removing (forever) the object of pleasure and procreation, may conduct to clearer thinking. But, after all, you can have throughout the whole movie, a strong feeling of forced, moralizing, didacticism.

The films of Korean director Kim Ki-duk are never easy. A student of French cinema, he has won Best Director awards at Berlin, Venice and Cannes. He is known for sparse dialogue or none at all. He, therefore, forces the film-goer to exercise her imagination to connect the dots and form leaps of imaginative fancy of things that are not verbally explicit, but also challenges an inner impediment to memory As such, his audience, voyeuristically, becomes an accomplice in the commission of his cinematic flights of fancy.There is no better example of this assertion than his 19th film Möbius (2013), which even now has been banned in Kim's native South Korea.The film's title refers to a continuous tale of a single thread that turns on its self thereby joining the other end as though it were a uniform narrative, which it is.Möbius is a fictionalized and sexually explicit treatment of castration, a capacious idea that Freud says haunts men: the loss of their manhood, sexual power and domination. And, yes, envy.Kim immediately brings us into a world that borders on eroticism of the antisocial that not only pays excessive attention to mutilation, carnal desires, rape as well as pumice stones that becomes necessary for neutered men's sexual gratification.Kim's hand-held camera will examine, for artistic purpose, gang rape, sadomasochism as it obtains to sexual relations between a eunuch and a woman, as he peels away the layers of a dysfunctional family and by extension the psychic underbelly of his own society.Straightaway, Möbius does not spare us the torture that drives the film to its final conclusion.Disassociated from reality, a mad, neglected middle-class housewife (Lee Eun-woo), driven to excessive drinking, by a promiscuous husband (Jo Jae-hyon) boldly and with determination carries out her revenge. Failing in her attempt to cut off her husband's testicle turns on her teenage son (Seo Young-ju) that she, in a Medea-like moment of folly, like Medea, slices off his penis, to take vengeance on her husband.And all this without spoken dialogue, that reflects learned helplessness of an unbearable situation, yet draws us into a vortex of pain and emotional array of angst, disgust or erotic voyeurism.As husband and wife struggle over the mutilated penis, she, in a paroxysm of rage, swallows it and then flees into the night.The father does what he can for his severely damaged son, but cannot spare him the humiliation he faces at school or joining the gang that rapes his father's mistress.Meanwhile, feeling the heavy weight of guilt, the father surfs the Internet for ways that will not deny his son the attenuated pleasures of the flesh, thus the recourse to pumice stones for sexual arousal. Yet the wages of guilt haunt the man that he has his own sex surgically removed for the day when he finds online a transplant procedure that will make his son a whole man again.In the intervening time, the mistress initiates the son into a sort of sexual excitement and fulfillment through S&M. More, they plot her revenge on the gang leader who brutally raped her, by castrating him.If this sounds distasteful, elements of Möbius can be found in films such as the black comedy The War of the Roses or sexual fulfillment without coitus in Coming Home. Have we so quickly forgotten the abused Lorena Bobbitt who cut off her husband's penis? Now restored to manhood, the son discovers that he cannot get an erection. And at that moment, his mother returns, to find a eunuch for a husband, who, despite his infirmity, tries to rape her. She seeks the bed of her son, who physically responds to her caresses, as though his "new" penis had memory of his father's bed play with his mother.And so like the Möbius band, the story comes full circle, as the theme of incest is introduced.The wife is shot dead by her husband; he, in turn, commits suicide. As this happens, the son experiences in sleep Onanist pleasure. Finding the bodies of his parents, he takes the gun from his father's hand and shots himself in the groin, as punishment for the tragedy that a penis has brought his mum to madness, his father to folly and he to no future.Few filmmakers are foolhardy to bring Möbius to the screen and to show it hors competition at Venice's La Mostra. And yet, Kim, unsubtle as this film is, ends it on a compassionate tone: for the son now has become a Buddhist monk seeking to end his suffering, his karma, by undertaking good deeds in order to escape the vicissitudes of his past life in the hope of attaining Nirvana. Another interesting point is the expression of love and sacrifice that the father has for his son.Heavy handed and taboo in theme, Möbius has faced censorship and very limited runs. It lacks the artistic quality of Oshima Nagisa's In the realm of the senses, which treats a similar theme with cinematic craft and emotional maturity and high art..

If you haven't read about it already, there is no audible dialog in the movie. There is sound, you hear actors breathing, you hear them when they are in pain or pleasure. But other than that, this is almost like a silent movie. Does it work? You bet it does! It's not about losing ones voice though (it never is something that is touched upon during the movie, it just happens), it is about much more.The fact that it is obsessed with pleasure, is just a metaphor. A metaphor for what people are looking for in life. It is not about repeating one self (although at times it might seem that way), but to further go down that rabbit hole. Kim Ki Duk is known to make strange movies. Now he has gone to the experimental stage ... rejoice or run for cover