Prankster though he sometimes is, Kim is never merely kidding around. There’s a poignant undercurrent to all this extremity, which is weirdly admirable, even though it isn’t terribly effective. On some level, Kim genuinely means to explore the masochistic nature of desire and its destructive influence on the family; his approach isn’t as aggressively absurdist as J.G. Ballard’s conflation of sex with auto wrecks in Crash, perhaps, but he’s tilling roughly the same field.
August 12, 2014