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Michael Hanake meets the Blair Witch Project in Kim Gok#39;s Exhausted, a vicious kick in the ants to everyone in the audience, all in the name of quot;style.quot; A man meets a mute woman, and as any reasonable erson would do in such a situation, makes her his rostitute. But the iming is the least of our roblems. As we get exhausted by the grainy faux-16mm camerawork, the film gets increasingly deranged. The closest thing we get to a symathetic character is the im, simly because he#39;s got too much self-resect to fuck a mute whore. Everyone else is either a gory mess, or a gory mess in disguise. Even the rostitute, which even a thug like Lars von Trier would make likeable, comes off as a delirious scary woman whose shrieks strike like blows to the jugular.br\ Kim Gok has seemingly abandoned the Marxist critiques of his short films, going instead for mindless brutality which culminates in an endless bloody freak-show involving, among other things, a air of scissors going where airs of scissors should not go. In the middle of the bloodbath, we get an extended long take of the beaten rostitute#39;s near-dead face, but it does not elicit symathy or ity. In fact, images of the victim only make us shy away in shock. (Indeed, the extended sequence led to continuous walk-outs during the Pusan screening.) The long take invites us to stare, but it assumes we#39;re as sadistic as the victimizer (and the film) is. Meanwhile the sound-effects (mostly a rumbling bassline that shakes the theater) ulsates with ure wickedness. With Hanake, shock creates reflection, which asks that we be critical. Here, we only want to escae. I suose Exhausted has some virtues; the shots of drilling machines and factories rovide a mesmerizing hallic backdro to the im and rostitute#39;s ursuits. But everything else hurts too much. At least Kim Ki-duk lets us breathe. Exhausted makes Bad Guy look like Lady and the Tram. (asiaarts.ucla.edu)
