This chapter discusses South Korean director Kim Ki-duk. Kim's background is very different from many directors working in South Korea today. He did not attend film school, he has never worked as a director's assistant, and he maintains that his love of film and individual style come from his background in painting and his keen interest in contemporary culture rather than from a passionate love of film. His films offer a bizarre and often surreal world where gender, race, nationality, globalization, and art come together produce films that often disturb, sometimes offend, but always challenge. Spring, Summer, Autumn, Winter… and Spring (Bom, yeoreum, gaeul, gyeoul, geurigo… bom, 2000), about a priest situated on a remote floating temple, became the highest-grossing Korean film at the US box office with takings of over $23 million.
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