Castaway on the Moon (2009)

Tied for the best movie I have ever seen

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

A man ends up on a deserted island and has to face the challenges of living in the wilderness. Sounds familiar? Then you might be surprised, because this movie offers more than that. The deserted island is right in the middle of a city, a small and unique world in which an outcast rediscovers life, uncaring of the merciless rules the city across the river obeys to. While he may be completely alone on that small piece of land, he shares this secluded lifestyle with a young woman who, like him, lives in a world of her own, but on the opposite shore, in the city. If you add to that the good camera work and all the nice music what you obtain is magic. But sadly the movie seems to go out of its way to be funny, too often. With such a nice plot I would have expected to be offered a deeper insight into the feelings of the characters and the way they evolve. Giving more weight to a couple events inside the movie and avoiding that rushed up ending would have probably offered the viewer a lot more emotions. After scrolling through all those 10-star ratings I couldn't help but feel slightly disappointed by Castaway on the Moon. It had great potential, thanks to its refreshing approach to the classic castaway story. But while, from time to time, it will make you smile, it will also make you expect something more. Of course, waiting for that something will still be pleasant. Worth a watch.

The funniest gag in Castaway on the Moon looks at how our childhood regrets and traumas cascade into our later lives. Kim Seong-geun could never quite grasp the art of treading water as a child, and in the years following the struggle remains in all the facets of his adult life. We observe with hilarity as he literally gasps and flails around in the water during a (sure to be unsuccessful) job interview, having to explain being made redundant at his previous position, then later as he desperately appeals to his ex-girlfriend, and then finally before the debt collectors, having being told his 'interest-free' loan has now ballooned to over three time the original amount. But just as he is about to metaphorically drown and end his life, the odds suddenly reverse on Kim. The ironic tragedy of his life is that as soon as he decides to commit suicide, the universe suddenly won't let him: "You can't even die," he scolds himself, after giving it his best shot. The music is whimsical and sardonic, and seems to be mocking his incompetence even when he is at the end of the road - never has such a serious downfall been given such light treatment. Elsewhere, the film also touches lightly on themes of the ennui of twenty-first century living, artificiality and the social media image. It is no surprise that Kim's third and final plea for help is to his phone company, and similarly unsurprising when the saleswoman playacts along with his desperation to push their product; sales above everything as the modern mantra. One particular shot is aligned to make Kim simultaneously tiny amongst the grass but gigantic alongside the city skyline, shouting and denouncing his former life to no avail. Like the insignificant ant he is, the city is indifferent to his struggle, much like how it has spurned the de-evolution of its many faceless workers in its capitalistic, churning machine. Kim merely takes this process to its fullest physical form, foregoing electronics, shelter, socialisation and even processed food in his rebirth. Ironically, the deserted island is situated comfortably under a bridge connecting two parts of the city, which is always in his sight; even having given up everything he still can't escape the relentless rat race, another point of universal mockery. Likewise, the female Kim wraps herself up in layers to shield herself from this lifestyle (bubblewrap, fragile as she is), but simultaneously indulges in a digital fantasy that provides the illusion of financial success. She keeps up her mental facade through this and a daily routine of workouts that mimics a normal living, while never physically leaving her room. The subject matter that this tackles has been done before and is tricky territory because the critique can easily fall into unrelenting cynicism, but Lee Hae-jun does well to create further motivations than merely a rebellious streak. Kim Seong-geun is dumped unceremoniously into his situation after a series of comedic mishaps and a complete breakdown of his adult life, and embarks on his crusade with nothing to lose. A scene of Kim Jung-yeon being outed on social media for her fraudulent postings suggests an incident in the past that led her to withdraw into her cage, along with the physical blemish of the scar on her face. The two Kims are analogous characters, exploring the notions of seeing and observing from their opposing perspectives. She scurries across the streets only at night, with motorcycle helmet to hide her appearance and identity, while he is an open book, flaunting his loss and cave-man visage for her camera to capture. The end-goal of these breezy romantic comedies is almost always a coming together of the sexes. Castaway of the Moon neatly sidesteps these expectations by ensuring that romance isn't the magical solution to their problems, but rather a byproduct of two lonely souls lifting each other out of their ruts. I remember a scene in The Ramen Girl where the white foreigner's (Brittany Murphy) ramen recipe lead to an entire restaurant sobbing into their soup and releasing their emotions. Seen literally it's silly and sentimental, but it also reveals how food can be a trigger for buried memories of the past, regrets and missed opportunities, and how the act of making food can be transformative in itself. Kim Seong-geun goes through the same process here, baring all and gaining redemption in his craft, and although she assists in gathering ingredients, she also recognises it as something he must do himself, and congratulates him afterwards. It is bookended by the climatic chase and confession trope, which Woody Allen perfected in Manhattan but has nevertheless become a thorn in the side of the genre. But see how Lee Hae-jun stays true to his characters and honest about their anxieties. She is exhausted by merely introducing herself, and he is trembling at the thought of someone wanting to approach him looking like that. They deserve to be with each other.

I will spare you the story and the details.I will bore you with how i feel right now.I cannot describe where my feelings are.I was deep inside the movie,watching it from layers,while trying to catch my breath.I didn't know where time had flown.I didn't notice.It's a very slow film if you speak in terms of attributes but you won't be able to tell when it covers you like a blanket not leaving you until you realize it's no longer with you.The story is relatively known but in parts unknown by everyone.You would have seen similar stuff and as the movie unfolds you will arrive someplace even similar but where you went in between you won't be able to describe.It's a beautiful journey with stunning visuals and camera work.The direction is outstanding.You can feel the whole backdrop slowly dissolving withing you.The experience is something only to be felt.You will be lost somewhere and found someplace else.In the end you would feel like you have finished reading a long book.

It's kinda a Korean variation on Cast Away, this time the guy get stuck on an island after a suicide attempts. Ironically this island is the middle of a river not far away from a city. Kim, the protagonist, represents all what society deems to be a loser: an indebted, underachieving, dumped-by-his-wife shell of a man. But stranded on this island, he reinvents himself with one (stupid) goal: cook some noodles, starting from scratch. It gives him the purpose he had lost in his mainstream life. And his renewed existence intersects with the one of another weirdo and evolves into something real cute.Funny and touching at the same time, it's Korean, it's good.