The Isle Wiki

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Tyrannosaurus is a tyrannosaurid theropod from the Maastrichtian age of the Cretaceous period, from 68-66 million years ago. The only known species is T.rex. The Tyrannosaurus was added to The Isle on the game's release. The Island consists of multiple climatic and geological regions. There are five larger mountains in the north and plains in the south. Three large Obelisks form a triangle on the Island. The Island Map edit edit source The Island is a large landmass with several smaller islands surrounding the central island.

A spooky seaman’s tale, The Isle screened at Norwich Film Festival in 2018 with an introduction from co-writer and director Matthew Butler-Hart. Butler-Hart describes the film as influenced by slow-burn horror of the 1970s, and he also spoke about the inspiration for the story — Eilean Shona, an island off the coast of Scotland that had a thriving community until the mid-nineteenth century, at which point people started to leave.

A stranger was murdered, various myths circulated, and the population dwindled.From this premise, Butler-Hart crafts a tale of haunting, grief, guilt and fear, while also promoting Eilean Shona where most of the film was shot. As a tourist piece, The Isle certainly offers some beautiful landscapes that provide a stunning backdrop. This is the tip of the iceberg in terms of production, as Butler-Hart recounted to this writer some of the trials involved in the shoot. After a three-hour drive from Glasgow to the Scottish coast, cars containing cast, crew and equipment had to be loaded onto boats that then navigated the sea in gale force winds.

During the three-week shoot, weather conditions on Eilean Shona changed regularly from suitable to utterly appalling. This uncertainty feeds into the film’s drama, as the island is an eerie place where one can imagine mysterious and even malevolent forces rising, so it may not leap to the top of favored vacation venues.These mysterious forces invoke Greek mythology while also drawing upon folk horror, The Isle proving to be an intriguing blend of generic and narrative borrowing. Opening with the sound and images of the sea, the film introduces the viewer to its three central characters, survivors of a shipwreck drifting through a cloaking fog. Upon landing on an unfamiliar shore, they find shelter (and porridge/oatmeal) with the locals, but quickly learn that all is not what it seems. Of these locals, the men are weird, the women even more so. Clearly there is danger, but who or what is the source? As the three sailors explore the island and seek a means to escape, they steadily learn that returning to the mainland may be even more difficult than navigating in a fog.The central trio of shipwrecked mariners are engaging and relatable, as well as being varied.

The ostensible leader of the group, Oliver Gosling (Alex Hassell, “”), tries to adhere to a chain of command. The more nervous Jim Bickley (Graham Butler, “Miss in Her Teens”) has frequent bursts of anger, which become increasingly understandable as events spiral out of control. Perhaps the most likable of the three is Cailean Ferris (Fisayo Akinade, “The Girl with All the Gifts”), an affable and slightly nerdish figure, whose race is not an issue for his friends but a pleasing contrast to the whitewashing of many a period film.

Of the islanders, Douglas Innis (Conleth Hill, “”) provides the standard curmudgeon, although softened with the necessary donations of rum. Fingal MacLeod (Dickon Tyrrell, “Globe on Screen: Julius Caesar”) is both hospitable and a very convenient documentarian, as his diaries provide vital clues to the mystery of the island.The standouts of the film, however, are the female characters, Lanthe Innis (co-writer Tori Butler-Hart, “Keeping Rosy”), Korrigan McLeod (Alix Wilton Regan, “The Heartbroke Hitman”) and, in brief but highly significant appearances, Persephone (Emma King, “The Vanishing”). These women embody allure and mystery in equal measure, peculiar flashes in their eyes as well as striking familiarity with the shipwrecked sailors highlighting their uncanny natures. This is a standard trope of gothic and horror fiction — the dangerous women who simultaneously tempt and threaten the men. The film’s best jump scare comes during a scene that features both these elements, and even though the viewer may see it coming, the scare is nonetheless effective.The film is not especially original in its inclusion of generic tropes, but Butler-Hart does use these tropes in an interesting fashion.

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As the mariners learn more about the history of the island, the viewer is treated to a horrific display of toxic masculinity. With this greater knowledge, the danger posed by the women is understandable and even justified, Lanthe and Korrigan presented as much victims as villains. While this is an interesting spin on the haunted environment/temptress tropes, The Isle does suffer in places. Butler-Hart’s direction is uneven, sometimes veering awkwardly from banter to dread. Horror and comedy are a difficult balancing act, and the release through comedic interludes jars with the slow build-up of dread.

Further jars are caused by discordant editing patterns that are more aggravating than unsettling. There is also a lack of period feel, the characters often seeming anachronistically contemporary in their dialogue and behavior, especially in comparison to other historical dramas such as “” and “.”Despite these problems, overall The Isle is an effective chiller. That the film was put together is a major achievement, and there is enough good stuff to check out in terms of creepy atmospherics, critical gender politics and ravishing landscapes. It also bodes well for whatever the writing-directing/acting team of the Butler-Harts will deliver next.

The Isle is a 2000 South Korean film written and directed by Kim Ki-duk, his fifth film, and the first to receive wide international acclaim for his now recognizable style. The film has gained notoriety for gruesome scenes that caused some viewers to vomit or faint when the film premiered at the Venice Film Festival.

The Isle stars Suh Jung and Kim Yu-seok as an unlikely couple who develop a love for each other despite their unusual circumstances.

Plot[edit]

Suh Jung plays the mute Hee-jin, who operates a fishing resort, where she rents out small floating cottages and ferries her customers back and forth between land and the floats, controlling the only means of transport around. She also dispassionately takes care of her customers' needs by selling supplies, providing prostitutes from a local dabang or occasionally acting as one herself. However, when a man running from the law, Hyun-shik (Kim Yu-seok), comes to the resort, a bond starts to form between them.

At the start of the film, Hyun-shik arrives at the resort and is ferried to his float by Hee-jin. There is nothing unusual about their business relationship from the onset, but eventually Hee-jin is intrigued by Hyun-shik's obviously troubled past. When visiting his float one time, Hee-jin still resists Hyun-shik's forceful advances but does call in a prostitute to service him. Hyun-shik, however, only wants companionship from the prostitute and a relationship starts to form between them.

The two developing relationships between Hyun-shik and the prostitute and Hyun-shik and Hee-jin move the plot. Hee-jin looks after Hyun-shik, even saving him from two suicide attempts, the second one accomplished gruesomely by swallowing a string of fish hooks. The prostitute continues to take more and more time off her schedule to visit Hyun-shik, oblivious to his troubles and eventually Hee-jin becomes jealous. During one visit, Hee-jin ferries the prostitute to an empty float instead of Hyun-shik's, ties her up and duct tapes her mouth shut, which eventually leads to her death as she falls into the water. The next morning Hee-jin finds her drowned and submerges her body tied to her motorbike. The prostitute's pimp, who comes to find out what's happening, falls in the water after a fight with Hyun-shik. Hee-jin appears in the water and kills the pimp. He is then submerged near the prostitute.

After the murders, Hyun-shik's and Hee-jin's relationship stalls. Hyun-shik wants to leave the resort, but Hee-jin, who controls the only boat won't let him. When he attempts to swim out, Hee-jin has to save him and take him back to his float. Hyun-shik takes the boat and is set to leave. Hee-jin apparently attempts suicide in an effort to stop him by stuffing fish hooks into her vagina and falling into the water. This time it's Hyun-shik's turn to save her, by reeling her in with the still attached hooks.

Hyun-shik and Hee-jin continue their troubled relationship. A prostitute accidentally kicks a man's Rolex into the water, infuriating him. He calls divers to have them retrieve the watch. The divers discover the bodies of the prostitute and the pimp while Hee-jin and Hyun-shik wordlessly take off on his float. The film concludes in enigmatic fashion.

Reception[edit]

Like most of the director Kim Ki-duk's films, The Isle wasn't well received in his native country.^[3] However, the film and its controversial elements caused some stir in the film festivals it appeared in, causing it to be picked up by others in the process. The film was one of the first Korean films to be presented in the competition category of the Venice Film Festival, following Im Kwon-taek's Surrogate Woman, and Jang Sun-woo's Lies.

The Isle currently holds a 61/100 on Metacritic,^[4] and Rotten Tomatoes reports 76% of reviewers as positive; according to the latter aggregator, the critics' consensus is: 'A compelling and oddly haunting combination of brutal and beautiful imagery.'^[5] During its initial screenings, the film gained notoriety through reports of people vomiting or passing out during the viewing.^[6] The film was eventually awarded a NETPAC special mention in the festival.

In his review of the film, Roger Ebert, having seen the film at the 2001 Sundance Film Festival, praised the film for its cinematography, while commenting 'This is the most gruesome and quease-inducing film you are likely to have seen. You may not even want to read the descriptions in this review.'^[7]

The festival success of The Isle eventually led to the film getting wider releases in many countries, even though it was seemingly more suited for an art house crowd.

Controversy[edit]

There are some controversial scenes in the movie. The two scenes involving attempted suicides with fish hooks caused audiences and some critics to cringe. There are also numerous scenes involving cruelty to animals, which according to the director Kim Ki-duk, were all real.^[8]

References[edit]

Footnotes[edit]

1. ^Korean Film Commission (2000). Korean Cinema 2000. p. 64.
2. ^'koreanfilm'. Boxofficemojo. Retrieved March 04, 2012.
3. ^Darcy Paquet's review at koreanfilm.org, retrieved October 13, 2006.
4. ^'The Isle Reviews'. Metacritic. Retrieved November 6, 2016.
5. ^'The Isle (2000)'. Rotten Tomatoes. Retrieved November 6, 2016.
6. ^Review of The Isle at timeout.com, retrieved October 13, 2006.
7. ^Roger Ebert's review at suntimes.com, January 21, 2003, retrieved March 11, 2006.
8. ^Pablo Kjolseth, An Interview with Kim Ki-Duk and Suh Jung on The Isle at moviehabit.com, Jan. 23 2001, retrieved Aug. 27, 2012.

Bibliography[edit]

• White, Jerry (2003). 'Overexcited by Fishhooks: The Isle'. Asian Cult Cinema. 38 (1st Quarter): 45–48.

External links[edit]

• The Isle on IMDb