THE KING OF PIGS is a darker-than-dark South Korean anime detailing that country's social hierarchy and its effect on bullying in high schools. It's an extremely depressing piece of film-making, with no happy endings or answers to the many questions posed throughout; at the same time, it's rather a profound piece of work, and one which pays off as completely rewarding to the viewer who invests his or her time in it.The story is a straightforward, high school-themed tale about a couple of poor kids who find themselves victimised by the rich older students. Into the chaos comes Chul, a guy who believes that one should become a monster in order to take down the bigger monsters. What transpires is never less than gripping, as it involves you in an increasingly dark and twisted tale.I wasn't too fond of the basic animation here, although it brings favourably to mind the likes of ANIMAL FARM (and LORD OF THE FLIES is an obvious precursor to this story). The voice acting is also a little shrill for my tastes, but despite all this, THE KING OF PIGS is electrifying viewing thanks to the compelling, unique storytelling.

Ever since Osamu Tezuka's early 1960s work, Japan has become the controlling monolith of Asian animation. The King of Pigs dares to try and buck the trend. A Cannes Film Festival favourite from new-gun South Korean Yeon Sang-Ho, it's an unflinching take on class hierarchy and savagery in an inner city high school. Dangerous Minds meets Lord of the Flies? There are piggies abound, but the gangster terrains are far from paradisal.After a fifteen year absence, old school friends Hwang and Jong reunite over dinner. But nostalgia isn't on the menu tonight, through lucid flashbacks, the pair discuss their upbringing with utter contempt; both still psychologically troubled by the culture of bullying, whereby the rich designer wearing kids prevail and the lowlives are berated, spat on and beaten to a pulp. Not a moment too soon, their lives are transformed when the ghostly student at the back of the classroom Kim Chul teaches them how to fight back in the most malevolent way possible.Animator/director Yeon presents a truly vile story in the most attractive way possible, with the rusty Seoul backdrop lusciously well drawn and the school boys presented autonomously, yet each have their own striking gaze. Also working as the editor and screenwriter, the vengeance tale is presented in such a raw and aggressive way that the fight sequences are often uncomfortably palpable. A stunning quality for a animation picture to obtain.But this is ultimately The King of Pig's undoing. While some of the hand-drawn animation and raw emotional connect leaves you gawking, the gritty and unsettling portrait of school feudalism is just so severe. Quite rapidly, Yeon shifts from the profound and resonating to the hysterical, particularly a painfully shouty final showdown. It's a great shame. What starts as an entertaining watch culminates in a sensorily attacking one.Read more reviews at www.theframeloop.com

The movie tries to get in a really tough subject matter. While doing so, it does steer away too much though. The constant flashbacks (Rashomon this ain't) and the pace do not work in favor of the movie. The subject is very serious indeed (bullying) and is not to be taken lightly (no matter what country it happens and it unfortunately happens a lot), but while the movie does not take it lightly, it does try too hard. The moral finger pointing is heavy ... too heavy.The anime style is good throughout, but the movie still felt like it had double the running time. One other thing that made it penetrating and almost unbearable were the subtitles. The filmmaker is (likely) not responsible for those, but it does add to the overall dissatisfaction you might feel while watching this. A feeling that arises because you might feel that this subject matter could've been handled better.

Serious animation is no longer a novelty but the bleakness of this Korean toon is disturbing.Leaving a girl with a rope mark on her neck, the bespectacled lead 'phones the old school pal, who is having domestic troubles of his own. During their night drinking and walking together, we see flashbacks to their school days, where they were at the bottom layer of a brutal system of bullying.The director's first feature is done with limited movement and only occasional flashes of striking imagery - the animal headed class mates, the ugly ghost cat, simulated afternoon light. Using female voices for the boys is also alienating. The film is so intense that viewers are likely to forget the exposition and find themselves unsatisfied by the rapid wind-up.Think of this as a curious companion to the similarly themed OLD BOY and part of the country's ultra-violence cycle, among which it is a stand out.