I'm a Cyborg, But That's OK (Saibogujiman kwenchana)

2006

I'm a Cyborg, But That's OK (Saibogujiman kwenchana)

Critics Consensus

No consensus yet.

91%

TOMATOMETER

Total Count: 11

79%

Audience Score

User Ratings: 13,405
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I'm a Cyborg, But That's OK (Saibogujiman kwenchana) Photos

Movie Info

Young-goon is admitted to a mental institution. Believing herself a cyborg, she charges herself with a transistor radio. Il-soon, a fellow inmate, steals the other inmates' personality traits and believes he is fading and will one day turn into a dot. When Young-goon refuses to eat, Il-soon decides it's his job to get her on her feet again. This charming, tender and visually arresting film cements Park Chan-wook's reputation as one of the most gifted and stylistically playful filmmakers working today.

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Critic Reviews for I'm a Cyborg, But That's OK (Saibogujiman kwenchana)

All Critics (11) | Top Critics (1)

Audience Reviews for I'm a Cyborg, But That's OK (Saibogujiman kwenchana)

  • Oct 02, 2015
    I'm a Cyborg, but That's Ok is a very playful and imaginative film. It is reminiscent of Amelie, though it is also a little bit dark at times (but that's OK!) The film has a message but communicates it more through character actions and symbols than in words; it is more lyrical than poetical. The aura and energy of the film and the actors definitely make this a pick for twenty-somethings. I find myself rating it up a bit because it does something different and has got some heart.
    Robert B Super Reviewer
  • Apr 06, 2015
    Park Chan-Wook's incredibly strange romantic art-house film narrates the romance and carnage that follows when a woman who fantasises that she is a cyborg meets a paranoid man in a mental institution who believes that he is steadily transforming into a single dot. Seriously. Whilst the film is kooky and kind of sweet in an eighty foot teddy bear kind of way, the film renders its audience completely oblivious to its message of humanity over conformity and the humanistic fear of helplessness, all because its far too colourful and its ridiculous plot completely overshadows its subplot; unfortunately what's implied is ignored for what is seen.
    Harry W Super Reviewer
  • Jul 10, 2012
    Straight from Korea, I'm a cyborg But That's Ok is one of the weirdest movies I've ever seen. Yes the directorial style is interesting and at first it was entertaining. It was actually enjoyable to explore the different personalities of the mental asylum. But then it just got way to weird. I mean with a title like this and watching the beginning you'd expect something weird, but I expected the Korean sort of weird. Strange things happening but still a nice story. What I got was a 70s Japanese B movie mixed with a Bollywood limited release musical. And you can see where that's unenjoyable.
    Daniel D Super Reviewer
  • Oct 21, 2011
    what inspires me into seeing this movie is an essay called "cyborg manifesto." it describes the condition of third-world females as the cyborg humans who offer their human resources in those high-tech factories which produce latest eletronic goods while the third-world males are castrated by the social non-producitivity (un-employment). as for the idea od cyborg, in addition to the mundane understanding of it as a robot, cyborg symbolizes the collapse of boundaries since the essence of cyborg is miscellaneous while the concept of culture is distinctively demarcated by various systems drivated from binary oppositions (human/animal; man/woman..etc.) thus, cyborgs are the marginalized outsiders segregated right on the borderline. this movie "i'm cyborg but that's ok" is a female mental patient who fantasizes herself as a cyborg while her fellow male inmate schemes great many ways to rescue her from her deliberate starvations. there're also many sequences of dreams which would remind you of that famous french movie "amelie" which celebrates the magnitude of dreams as the poise of naivete is mighty enough to redeem misery and reverse catastrophes, at least within your mind. 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.
    Veronique K Super Reviewer

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