3-Iron

2005 Drama | Suspense/Thriller | Romance
78%

Tae-suk is homeless and lives like a phantom. His daily routine involves temporarily staying in houses and apartments he knows to be vacant. He never steals from nor damages his unknowing hosts' homes; rather, he is like a kind ghost, sleeping in other people's beds, eating a little food out of strangers' refrigerators and repaying their unintended hospitality by doing the laundry or making small repairs. Sun-hwa was once a beautiful model, but she has become withered living under the shadow of her abusive husband, who keeps her imprisoned in their affluent, expensively decorated house. Tae-suk and Sun-hwa are bound by fate to cross paths though their invisible existences. They meet when Tae-suk breaks into Sun-hwa's house and they instantly recognize the similarity of their souls. As if bound by unseen ties, they find themselves unable to separate and quietly accept their bizarre new destiny.

Our Review

by entertainment
Star Rating:

3 Iron

Leaflet distributor Tae-suk (Hyun-kyoon) returns to the areas he's leafleted during the day to break into unattended houses - but not to steal. Instead the young transient showers, eats and sleeps, then performs various odd-jobs and chores to pay for the privilege. It's a quirky, humorous opening that quickly becomes more serious when Tae-suk breaks into a house and discovers the bruised and beaten Sun-hwa (Seung-yeon). After Tae-suk uses the golf club of the title to batter Sun-hwa's abusive husband, the pair take off to lead a new life. Unfortunately, director and writer Ki-duk Kim is intent on taking his offbeat on-the-road story down something of a meandering dead-end; instead of concentrating on the characters (excellently acted, using a bare minimum of dialogue), Ki-duk instead goes off at a tangent that has to do with perceptions of self and ultimately asks the audience if the characters they're watching are real, or if they're not the product of some overheated imagination. That approach asks intriguing questions of conventional filmmaking philosophies and is undeniably interesting from a technical point of view, but it distracts attention from the story itself: what promises to be a tender, delicate and complex love story gets spurned in favour of dry, clinical theory.

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