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Film Perfection

I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

It's an amazing and heartbreaking story.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

In "Samaritan girl" Ki-Duk put his cinema of poetry and tragedy at the service of a young girl who wants to redeem her dead friend (who was a prostitute) giving the money back to all of her customers.As usual Ki-duk takes care of each and every sequence; his movies are just like a succession of pictures that sometimes are full of beauty and some others are full of brutality. "Samaritan girl" is less reflexive and less contemplative than "The arc" or "Spring, summer, autumn...", there are more dialogs and the plot is much more worldly.If you like the movies of this Korean director you're gonna enjoy this one, but if you haven't seen any of his works I recommend that you watch "Iron 3" or "The isle" first...*My rate: 7/10

Director Kim Ki-Duk gives us insight about teenage prostitution in Korea, but is this really a movie about prostitution? Looking deeper than the visual settings, I found that the movie hits more emotionally about relationships, between friends and family. The movie is basically broken into two parts. Part one is about Jae-Young, an amateur prostitute and her best friend Yeo-Jin, her manager. The second part is about Yeo-Jin and her father. Each part has its tense moments, and the director, pretty much does a good job telling the story and showing the audience: tragedy and closeness. There's not a lot of sex or violence like typical prostitution movies, but then again it is not about prostitution, it only uses it as a medium to get the point across. Happy viewing!

SAMARITAN GIRL (3 outta 5 stars) Two high school girls finance a holiday trip they want to take by turning to prostitution. Yeo-Jin lures men via internet chat rooms and her cell phone while Jae-Yeong actually has sex with them. All goes well until Jae-Yeong dives out of a three story window to evade the police. Overcome with remorse, Yeo-Jin contacts all their old customers to sleep with them and return their money. In the meantime, Yeo-Jin's father discovers what his daughter is doing when she should be in school and his vengeance against the men despoiling his daughter keeps escalating. A simple story... the plot sounds very sleazy but the emotional subtext elevates the story into a truly heartbreaking drama. The scene where the father confronts one of his daughter's clients in front of his family is extremely powerful. The sad, tender finale is also well portrayed.

This is my fourth film by Ki-Duk Kim (after Spring, Summer... / The Isle / 3-Iron), and he scores one minus (The Isle, despite stunning cinematography), one very good (Spring), and two absolutely magnificent. Despite the fact that I liked 3-Iron just a bit better because of the more straightforward story and consistent way of story telling, Samaria comes very close.I'm not going to spoil things for you, but I'd just point out that this is yet another highly symbolic film, so much in fact, that this second (symbolic) level is probably more easily understood than the basic story. Not that it's complicated, it's just that story and meaning are not as closely interwoven as in 3-Iron, where the overlap between the two made possible an ambiguous reality that led to sublimation. Here, it takes a while for the two levels to touch.The feeling following 3-Iron was that of reaching an asymptote - only the infinite was beyond. In Samaria, you feel like some serious stuff happened but what's done is done and the road lies open. We're at a starting point, which is not quite zero but feels like it. Well now, you can hardly call that a spoiler 'cause I hardly understand it myself. But you'll see what I mean after seeing it.The story, which seems to start out as something different that what it turns out to be, must be one of the most poignant symbolic depictions of the point at which a parent has to let his/her kid go and realise he/she's not needed anymore - or not like before. Also, silence, without being as overwhelming as in 3-Iron, plays an important role. In 3-Iron, good stuff happened because of silence; here, a lot of not so good things happen because of it, but some good things can happen in spite of silence. The ending can be very sad or neutral or have the potential for hope, if you choose my story interpretation. But who am I?What? Still reading this? - off you go to the video store. Chop chop!Note: does anyone realise just how brilliant Kim Ki-Duk is when shooting indoor scenes?! Framing, camera movement, light - you name it - sheer perfection.