I seem to have embarked on a season of Kim Ki-duk films (see Bad Guy), whose ‘extreme cinema’ raises hackles as well as bile. Audiences are probably expecting the worst when the film opens with the message that no animals were harmed in the making this film and a short introductory shot shows a young girl being shot in the eye. However, although physical violence, as in Bad Guy, is a manifestation of the psychological pain inflicted upon the (subaltern) underclass, much of the violence in Address Unknown, mercifully, happens offscreen.
Set in 1971 in a US army base camp town, the narrative offers fairly loosely connected ‘slices of life’ from three main characters: a schoolgirl who, after being raped, is thrown out of the school and two young men, one with mixed raced (African-Amercan/Korean) parentage and the other the butt of bullying who fancies the girl. The ‘letter’ of the title is sent by the mother to the father, now returned to America, of Chang-guk; however, they are returned with the titular message. Unsurprisingly, given the setting, the focus is on the colonial nature of the American encampment, the girl – Eunok – walks to school beside the base’s fence. She is befriended by an American soldier and Kim is sympathetic to the psychological effect of the American’s displacement, but his presence is ultimately destructive.
There is humour, too, in the mire of the characters’ existence: all three are framed, in one scene, with injured eyes. Hardly funny in itself but it’s part of Kim’s project to unsettle the audience and this he does. Kim has directed 20 features in 18 years, a remarkable tally given his lack of box office success. Despite the speed at which he works he produces work of quality, both in terms of direction and script, that demands to be seen. He is also one of the few who give a voice to the underclass which makes him one of the most important political filmmakers of our time.