I'm a Cyborg, But That's OK (Saibogujiman kwenchana) Reviews
the idea of insanity also suggests a collapse of boundaries as the movie chooses to overlap the idea of cyborg with insanity. the only difference between genuine cyborg and insanity is the place of subjective identity, and the woman in this case aims to eliminate the sentimental subjectivity within her so she could rid of the empathetic pain she feels toward her neglected grandma who also fantasizes herself as a mouse. deluding herself into a cyborg is a course of self-reification as she metaphorically askes the man to thieve away her sympathy and her senses, which turn this apathetic society into something intolerable. but she cannot change the world but herself, therefore she is a cyborg.
funnily, the woman in this movie also works in an eletronic factories. the first seuqence of the movie features her wrist-cutting herself, plugging a wire inside her veins then turning on the eletricity to eletro-shock herself. but there's nothing defiant in her attempt of self-mulitation, all she wishes is a peace of mind which is denied due to emotional alienation. her profession as worker in an eletronic factories coincides with the mockery of third world woman in "cyborg manifesto" and she chooses no resistance but settles in a secluded asylim where she meets another socially dysfunctional inmate who loves her. cyborg-dom here is a menchanism devised by the individual as inward survival. despite how sweet their love is, but they still remain discriminated within a district of their own, which grants them aesthetic salvation - the magnitude of dreams, while everything out there maintains its status quo: she still stays within the asylum, those relatives who mistreat the grandpa are still carring their selfishly content lives outside without a strike of condemination.
in a nutshell, "i'm a cyborg but that's ok" is an aesthetic haven which is designed to be apolitical, non-involved in the domain of ideology. but strangely that non-involvement attempt itself is also a passive statement of postmodernity where individuals, or let's say third-world female individuals. yield to a voluntary self-lobotomization due to the void of personal empowerment.(since she IS a cyborg, but she says that's ok) in other words, it's a pessismistic statement of non-action wrapping itself up with farcical rejoice just to cover some un-speakable pain.
"Fine! I'll admit it! Last night, I stole Thursday".
Generally really funny and kind of cute, but has its sad moments.
I usually never pay that much attention to film titles but with a title like "I'm a Cyborg, But That's OK," one would be right to expect a certain level of weirdness, and director Chan-wook Park does not disappoint. What the movie accomplishes visually through sheer verve is showing the world through the eyes of a mentally ill person which is mindblowing to say the least. Outside of this, there is not a particularly strong story, as it simply revolves around therapy and the healing process. What separates this movie from others of its ilk structurally is that there is not a strong doctor figure to sympathize with, leaving the patients to attempt to heal each other, taking on each other's pain.