Samaria (Samaritan Girl) - Movie Reviews - Rotten Tomatoes

Samaria (Samaritan Girl) Reviews

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½ June 19, 2015
Well, at least the characters talk, something kind of rare in a movie by Kim Ki-Duk. Hard to decipher character motivations in this (for instance, why does the father continue to torture himself by following his daughter to her "outings" instead of disciplining her - or at least trying to - from doing it again?), but it does leave sort of an enigmatic impression, part of the surreality that Kim Ki-Duk's films I've seen in the past like to explore.
April 2, 2015
The movie totally belongs to Kim-Ki-Duk.The movie is weird,strange,hypothetical but it sticks with you till the end. Its not your regular cinema so dont go in their expecting something happy. It's disturbing but its bloody brilliant. Director Kim-Ki-Duk paints a picture of aspirations of two girls which makes them take a path which is extremely graphic and sometimes violent. The end is something which would make you scratch your head because it's more about the feel and emotion. Do take sometime out of your schedule and watch this masterpiece. You may not like it, but it would change your perception about film making.
July 27, 2014
Ki-duk Kim's works has an aura of it's country of origin and IMHO this is kim's best
July 11, 2014
[Interested: cannot find.]
½ January 2, 2014
I've seen several movies by this director who is not afraid of controversy and breaking the boundaries of conventional story-telling. This movie is not an exception - it's highly symbolic with numerous biblical references and is obviously not to be taken literally. It's thought-provoking, but in all honesty, I'm having a hard time grasping the moral of the story - it almost feels like a few pieces of the puzzle are missing.
November 11, 2013
i probably am not asian enough to understand the motivation of characters... but visually and emotionally very interesting
½ May 6, 2013
Samaria (Samaritan Girl) (Ki-duk Kim, 2004)

Ki-duk Kim makes very beautiful movies that, in the main, I have never found myself able to connect with; I can appreciate films like Seom or Nabbeun Namja, but while watching them I could never find an in to emotionally bond with any of the characters. Samaria is the first Ki-duk Kim movie I've seen where I found that-though I never did get over my amusement that much of the connection I ended up feeling to our two main characters is lifted from what I am choosing to think of as Kim's extended homage to Takeshi Kitano's Sonatine, released a decade before-and as such, I simply liked it better than any of the Kim flicks I've had a chance to take in to date.

Netflix's plot synopsis makes it seem like the first half-hour of the movie is actually all the important bits, so let me set the record a little straighter-yes, the first bit of the movie focuses on amateur prostitute Jae-young (Yeo-reum Han in her first screen appearance-she would work with Kim again the next year in The Bow) and her friend/manager Yeo-jin (Wishing Stairs' Ji-min Kwak), who wrestles with the ethics of the thing even while planning to reap the benefits (Jae-young got into the game in order to be able to afford for both of them to be able to take a trip to Europe the next summer). Tragedy strikes when Yeo-jin is momentarily distracted, and Yeo-jin is left trying to understand Jae-young's assertions that she liked, and felt close to, the men who paid her. Yeo-jin feels compelled to travel the same path in order to come to some sort of understanding-but when her father, Yeong-ki (H's Eol Lee), finds out, bad things start happening as Yeong-ki, in turn, takes the first steps to understanding where his daughter is coming from. At the risk of a minor spoiler: approximately the final third of the film takes place on what ends up being a bungled trip to visit Yeong-ki's wife's grave that strands the two of them in the (very beautiful) middle of nowhere; this is the portion that I referred to above as an extended homage to Sonatine (but without the Yakuza angle).

As should be-hopefully-obvious from the description above, Samaritan Girl is ultimately a movie about people who are so broken they no longer have any way of communicating with those around them. (Figurative representations of Hee-jin's literal muteness in Seom; lack of communication is a frequent theme of Kim's.) However, they don't realize they're broken until something horrible befalls them (or, in the case of Yeong-ki's relationship with his wife specifically, a good amount of time after something horrible befalls them, like her death). The main thrust of the movie-its main point of conflict, if you will-is Yeo-jin and Yeong-ki trying to even define what's wrong with their relationship, but without realizing anything is Yeo-jin is far too distracted by her quest to give any thought to her relationship with her father at all; Yeong-ki thinks, at least until he finds out what's going on, that he and his daughter have a normal relationship. (And here, of course, is the crux of the matter: we have to ask ourselves, given the limited information given to us, whether he does, and if so, whether Kim is casting aspersions on the current "normal" human mode of relationships; this is certainly not out of the question.) I'm not sure what the difference is between this and the other Kim movies I've seen, but here we had characters who were relatable, even in the odd situations into which Kim flung them on a regular basis, and more to the point, likable despite/within their flaws. And, it should go without saying, this too is a very pretty film, like everything Kim does. But there is more substance here, at least it seemed so to me. *** 1/2
March 27, 2013
Much better than his previous efforts Spring... Spring and Bad Guy. A triptych of grotesque beauty. "Samaritan Girl is just the latest testament to Ki-duk Kim's cinematic genius." "A wholly unique tale that gives expressive voice to the pains of childhood and the parents forced to bear witness."
½ March 12, 2013
Like Kim Ki-duk's other films, "Samaritan Girl" is strange and filled with odd things to think about. The trouble is, nothing seems to connect here. While "3 Iron" and "S.S.F.W...S" feel cohesive and intriguing in their mystery, "Samaritan Girl" is just plain confusing. There's about a third of the movie that's brilliant. The other two thirds have flashes of interesting moments and a whole lot of "huh?". It doesn't seem as purposeful as his other films, which is a shame because there are moments where the lightbulb does go off. I just wish there were more.
February 17, 2013
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January 18, 2013
Actually the climax of the movie is one of the best climaxes I ve ever seen. Quite a simple one you cant forget easily.
January 7, 2013
From the Korean Zhang Yimou / Chen Kaige -- Ki-Duk Kim. Excellent indie character study, and situational study.
January 6, 2013
quite heartbreaking to see how the daughter drove her old man over the edge.
the film kinda shifted direction thrice; didn't expect the ending but it was a befitting one.
½ December 5, 2012
Ki-duk Kim's movies are magical, Impressive & filled with symbols & metaphors & this one is no exception
November 16, 2012
Una pellicola girata con forte drammaticità da parte del maestro coreano self-made Kim Ki-Duk. Interessante il cambiamento di focalizzazione dei personaggi nel corso della narrazione che raccontanp tre punti di vista diversi fino a raccontare la disperazione del padre di Jae-Young. Violenza e drammaticità sono fortemente asciutti e questo rende il film di più facile coinvolgimento rispetto ad altri del regista. La redenzione ancora una volta è cercata fuori dalla metropoli, nei paesaggi sperduti e nello stesso affascinanti della Corea.
September 26, 2012
A cena do pé de porco assado é "assustadora". Eu sempre me surpreendo com comida de rua =)
½ July 30, 2012
Yoe-Jin é uma jovem adolescente que ainda vive com o seu pai, viúvo.A sua melhor amiga, Jae-Young, é prostituta. Yeo-Jin ajuda-a marcando os encontros com os clientes e vigiando a polícia. Juntas mantêm o sonho de juntar dinheiro e fugir para a Europa. Mas um dia Yeo-Jin comete uma distracção fatal e Jae-Young é apanhada pela polícia, resultando daí um acidente com trágicas consequências.
½ July 2, 2012
Told in three parts, Samaritan Girl is one of the more vague movies from Kim Ki-duk. Its about two schoolgirls who want to go to Europe, so one of them sleeps with men for money and the other one does the pimping. When the prostitute girl dies, the pimp decides she should appease her guilt and sleep with all the men and return the money. Her father is a policeman, and he finds out with a vengeance.

The strange plot is probably the biggest weakness. Its hard to buy such a complicated plot for such a little thing. The movie's pace also slows down a great deal in the final part, and the strange double ending will leave even the most seasoned film viewer a bit vexed. Overall, I think it has enough scenes of beauty and despair for a solid film about guilt and redemption.
The strange plot is probbaly the bigge
June 6, 2012
Jae-yeong et Yeo-Jin sont des meilleures amies. Enfin, une amitié plutôt singulière, mais ancrée plus solidement dans la sincérité que l'on ne pourrait le croire à première vue. Ensemble, elles expérimentent les couleurs de la vie. Elles croquent à pleines dents dans un monde pourri, et elles mastiquent longtemps - très longtemps - jusqu'à ce que la vie se décompose dans leur mâchoire.

Pourtant, au moment où Yeo-Jin prend conscience du goût putride de cette existence amère, il est déjà trop tard. Et puis Ki-Duk Kim la nargue, il lui fait un pied de nez et lui fait avaler un beau gros morceau de cette vie, et ce, malgré elle. Yeo-Jin se voit donc confrontée aux mystères et aux tragédies de la vie, forcée elle-même de délimiter les frontières entre la notion du bien et du mal.

Car, forcemment, au cours de Samaritan Girl, la notion de la normalité n'existe plus. En tant que spectateur, on assiste au périple de Yeo-Jin, et on le vit en même temps qu'elle, on se demande si elle a raison d'agir comme elle le fait, si elle rachètera réellement son entrée au Paradis - si Paradis il y a vraiment, Ki-Duk Kim insiste là-dessus - en retraçant le parcours de Jae-yeong.

Finalement, elle emprunte le chemin le plus long, le plus tragique et le plus douloureux. Du moins, pour nos yeux, pour notre morale occidentale. Interprétons-le comme on le veut, mais cette transition indésirable de l'enfant qui se métamorphose trop vite en adulte a, elle aussi, son lot de conséquences...

L'ambivalence du rejet parental et de l'amour paternel.
Super Reviewer
½ April 15, 2012
I know of Kim Ki Duk's reputation as an art-house filmmaker and his use of symbolism in his movies, and that's fine, because more filmmakers need to take risks and to put out something completely different than what is out there, and Kim Ki Duk fits this bill perfectly, but at the same time this movie did absolutely nothing for me. I just think it's really a chore to sit through and despite having a decent three act story arc, it's just not interesting to watch. Again, none of this has to do with the fact that it relies on its symbolism to tell its story rather than dialogue, I just don't think that the movie was engaging enough, visually and thematically, to make it worth watching. And it also feels completely pretentious, it never feels like it's the culmination of an artistic journey that Kim Ki Duk had been through until that point, it's just him showing off. And that's never good. I didn't think it was a bad movie, but it's pretentious and dull.
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