Berlin,

Samaria

Das Ende der Kindheit ist ein universelles Thema,
das Problem das Eltern damit umzugehen auch ...

INHALT

Yeo-Jin, noch keine zwanzig, lebt mit ihrem verwitweten Vater zusammen. Ihre beste Freundin Jae-Young arbeitet als Prostituierte. Yeo-Jin ist so etwas wie ihre Managerin - sie hat ein Auge auf ihre Kunden und ihre Einnahmen. Als sich Jae- Young in einen Freier verliebt und ein Abendessen zu dritt verabredet, reagiert Yeo- Jin sehr verärgert auf diese Intimität, Jae-Young sagt daraufhin die Verabredung ab.
Kurz darauf unterläuft Yeo-Jin ein verhängnisvoller Fehler. Wie üblich steht sie Schmiere, als Jae-Young mit einem Mann im Motel verschwindet. Doch diesmal übersieht sie die Polizisten, die nach minderjährigen Prostituierten fahnden. Um nicht von ihnen geschnappt zu werden, springt Jae-Young aus dem Fenster und verletzt sich dabei schwer.

Auf dem Sterbebett bittet sie Yeo-Jin, den Mann herbeizuholen, mit dem sie zum Essen verabredet waren. Nach kurzem Zögern willigt Yeo-Jin ein, doch der Mann will Jae-Young nicht sehen - es sei denn, Yeo-Jin ginge mit ihm ins Bett. Ihrer Freundin zuliebe tut sie es. Doch als die zwei im Krankenhaus eintreffen ist Jae-Young schon tot. Von nun an trifft sich Yeo-Jin mit allen ehemaligen Freiern ihrer Freundin und schläft mit ihnen. Verdienen will sie dabei nicht, im Gegenteil:

Sie gibt ihnen ihr Geld zurück. Eines Tages kommt Yeo-Jins Vater hinter das Doppelleben seiner Tochter. In seiner Wut beginnt er, sich an ihren Freiern zu rächen. Bis er einmal zu hart zuschlägt ...

INTERVIEW MIT KIM Ki-Duk

Q.: What does the title “Samaritan Girl“ mean and what significance does it carry in the movie?

A.: It pertains to people who were abandoned, while also pertaining to Mother Mary as well as the opposite of a woman saint. But that’s a paradox. Rather, the title means purity.

Q.: The film is divided into three parts. What does each title mean? Is there any special reason why you divided the film into three parts?

A.: The title “Vasumitra” is an Indian woman’s name from the Buddhist tale where she understands the exchange of human intimacy by prostituting herself. The title directly expresses Vasumitra’s theory. The title “Samaria” is conscious of a society which curses the decadence of the body. “Sonata,” in spite of these things, means that everything is part of our trivial common day life and never changes.

Q.: Continuing on with your previous work, “Spring, Summer, Fall, Winter and Spring, “ religious themes and images also appear in this film. What are your intentions?

A.: “Samaritan Girl” is very quiet and includes forgiveness and understanding, similar to what was intended in “Spring, Summer, Fall, Winter and Spring.” Like in my previous film, which says that humans are nature, “Samaritan Girl” is also a movie that tells us to absorb our painful lives by transcending religion, meaning taht misery and happiness are the same.

Q.: I heard that you cast real high school girls, who are first-time actresses, to play the roles of the teenage girls who prostitute themselves in the movie. Did you have any problems working with the young actresses who are minors?

A.: It was hard because they never experienced “wonjogyojae” (teenage girls prostituting to older men). But while shooting the film, they were shocked at reliving the lives of these prostitutes. This experience will make them understand adulthood a step further and to live mature lives. The main characters in my films were always shocked after acting in my films and it hurts me that they’ll be living with the shock afterwards. But that’s life.

Q.: Even though he knows about his daughter prostituting, he can't directly blame her and takes revenge on the men she sleeps with. What did you want to get across?

A.: It looks as if the father is seeking revenge, but actually it's showing the process of him understanding his daughter. What he mostly wants to do is kill his daughter who was contaminated by society and the older generation that he's also part of. So that's why I put in the dream scene where he kills his daughter. In the script, he does kill his daughter, but I changed it into a dream after giving it a lot of thought. If something precious to us gets contaminated, we have a trait to hide it.

Q.: "Samaritan Girl" was made by a company you set up called KIM KI-DUK FILM. What's the reason you became a producer and what differences did you experience?

A.: Because it was an efficient way to manage things even though the budget was small. Using a limited amount of staff and my freedom to adjust the locations allowed me to shoot this movie in a family-like environment.

Q.: In "Samaritan Girl" compared to the theme/subject matter's strong refutable elements, there aren't any scenes that discomfort those who watch the film. Are there any special reasons for this?

A.: I generally excluded the sex scenes and just expressed them through nuance. U wanted to remove any sensationalism. This is important. People try to stir up controversy by showing instead of feelin, such as cruel sex scenes where middleaged men inflict pain on girls... This rather becomes a distraction and umimportant when delivering a fresh theme.

Q.: Including "Samaritan Girl," you've directed 10 films. Please tell us some of your thoughts during this time and your future plans.

A.: I always look back on the past as memories. So I have no regrets or lingering attachments. When I look at my films again, I think, "So that's what I did," and then laugh. I don't have any big expectations about the future either. I have various story concepts all tangled up in my head, and the one that looks to be the clearest will be extracted and made into a film. I don't know what it'll be yet, but I'm thinking I should start on it soon.

CAST

Regie ...................................KIM Ki-Duk
Drehbuch .............................KIM Ki-Duk
Produzent ............................BAE Jeong-Min
Produktionsfirma ..................Cineclick Asia/ KIM-Ki-Duk Films
Musik ...................................PARK Ji
Kamera................................SUN Sang-Jae
Schnitt..................................KIM Ki-Duk
Kostüm.................................LIM Seung-Hee
Dialoge.................................JEONG Hyun

STAB

Drehbuch und Regie ............................................... François Ozon
Drehbuch in Zusammenarbeit mit ................ Emmanuèle Bernheim
Kamera ..................................................................... Yorick Le Saux
Ton ........................................ Jean-Pierre Duret, Brigitte Taillandier
Casting ....................................................Antoinette Boular A.R.D.A.
Regie-Assistenz .......................................................... Hubert Barbin
Schnitt ................................................................... Monica Coleman
Mischung ............................................................ Jean-Pierre Laforce
Kostüme ........................................................... Pascaline Chavanne
Produktionsleitung ........................................... Marie-Jeanne Pascal

Originaltitel: SAMARIA
Land/Jahr: Korea 2004 · 95 Minuten · OmdU · 35mm · FSK 16 beantragt · 1:1.85 · Dolby SRD
Silberner Bär für die Beste Regie 2004

Links zum Film

http://archives.arte-tv.com/fr/archive_572055.html

http://www.kimki-duk.jp/

http://de.wikipedia.org/wiki/Kim_Ki-Duk

http://www.mmeansmovie.de/fruehling.html

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