Actually headline explains every feel i felt while i was watching. after 10-15 minutes, i asked myself why are u watching and after 40-50, i was like oh okay. when ended it , it became one of my favorite. with a deep meaning, great acting, less talking and simplicity of cinematography... it was definitely worth watching and also the soundtrack is perfect!!

The most amazing kind of love is building a relationship through words unspoken but hearts intertwined. Kim Ki-Duk had carefully incorporated this in his movie 3-Iron. His flawless direction of the film is evident by the way he plans the atmosphere of every scene, framing each shot with artistic and delicate composition. Ki-Duk's mastery of mise-en-scene (putting on stage) was exceptional for having to tell a moving story without dialogue. His movie had marked the start of modern silent films.3-Iron follows the story of Tae-suk (played by Sueng-yeon Lee); a lone wanderer whose mere valuable possessions are his motorcycle and digital camera. Everyday, he puts brochures for Chinese restaurants over people's front-door keyholes. He then breaks into houses that hadn't removed the brochures, presuming there's no one home. It has been Tae's routine to live in empty houses for the night while doing house chores and fixing broken appliances to compensate his intrusion. Before leaving each house, he makes sure to take a picture of himself, hoping to find a sense of home with pictures of other families.A truly challenging movie to accomplish, 3-iron (empty houses) relies on the masterful mise-en-scene of the director and facial expressions of the actors. Ki-Duk's influence in the movie was so prevalent as every little detail was carefully premeditated. Sueng- yeon Lee and Hee jae's acting were commendable as their delivery were seamlessly done. The silence narrates their suffering and the depth of their understanding. The audience was able to follow their perfectly phased love story as it blooms.No matter how we make of the films ending, the message is clear. We all yearn to look for who we really are, to search for where we truly belong and to find the missing piece that completes us. The final scene was the most lingering scene in the movie as it represented the ying and yang. Two different people determined by the longing to complete each other.

I basically prefer mystery movies to watch in free times, and reviewing a romantic movie is generally not my business, but this movie is just so amazing that I just cannot help myself to be silent or say anything bitter about it.. The unpredictability of upcoming events, style of storytelling, camera angles that will increase your interest suddenly.. at some points I thought that right now I am watching some quality cinema stuff but not expect much for the ending because as always happen to great movies , to give a great ending is very big deal for every writer and director..that's why I am giving 8/10 score. But a good movie, I am just feeling amazed.

Spring...Spring showed that this man knows reflections, remember the temple gliding on waters, but has trouble articulating a convincing illusion of life. So we got splendid revelations of a phony nature, a postcard in place of the real thing, this was problematic because it run counter to the everyday essence of Buddhism. This is also an issue here, the human dimension as it were; the abusive husband, the cop, the warden, Kim doesn't seem able to convince that these are human beings who breathe and walk in the same world as you and I do and not just plot agents on a page.Something else is at play here, emptiness that I usually seek. The bulk of the film is a love affair between protagonists who never speak, so have to come up with other ways to convey the intimacy. Wong Kar Wai that this was inspired from strives for a similar effect; he presents only impulses for connection, only gestures, time and caress, trusting us to complete the affair in emotional space he has reserved for these things. I think we really lucked out that this was filmed quickly, in just over two weeks, so it is less conscious about a lot of things, again a little contrived, Kim will probably never be one of our greatest filmmakers, lacking a truly subtle touch, but has enough intuitive pull this one.They break into other peoples' homes while the owners are away, transient beings passing through the world. They own nothing, are attached to nothing, in the sense that everything exists just for the night together and is not theirs to take on their way out. He spends time diligently fixing things, doing laundry, taking care of life around him. They take photos together, reflections for later, one of the most poignant images about what this is all about is where he photographs himself next to photos of people. You can presume that eventually he has died and it has all ever so slowly been rolled into a dream about him, pieced from time and reflections. It doesn't matter so much as being enveloped by a feel they have built between them.It is much more Buddhist than Spring. They don't need words between them because they don't have to weigh on each other with self and desire, not having any attachments beyond being together and getting busy putting back into order each new world they come into.He becomes a shadow, air, air that she holds by the hand. The golf ball spins the karmas into motion again.This is fine but if you are like me, you'll get shivers imagining the film in the much more delicate hands of a true calligrapher like Shunji Iwai.