Nice effects though.

Absolutely Fantastic

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

One of the worst ways to make a cult movie is to set out to make a cult movie.

For a romantic comedy, this movie manages to be so heartbreaking and poignant, and it does so without the typical korean melodrama (you know with the excessive crying and yelling and actions that makes no sense). Also, the editing was perfect and the cuts between the two character's story further the plot at a good pace. It first starts off with the guy being stranded on the island and explains well his motivations for staying there and not returning to society. Sometimes you'd watch a castaway movie and think of different scenarios for the character getting off the island but in this case, he really doesn't want to leave so there wasn't much frustration in dealing with that. The transition to the girl's POV the first time was a little slow in my opinion but it really pays off when you realize how they're connected. All in all, I thought they presented a really solid take on the theme of loneliness and human connection. The guy character's journey to find meaning in his life and becoming self sufficient is so endearing and heartwarming that you find yourself cheering for him over the smallest victory. And I guess that's the point of the movie, to find joy in these small victories because they can be very meaningful if you let them. And I think this is highlighted by the fact that his adventure and antics inadvertently coaxes another person to come out of her shell. So he starts off with pretty much having zero impact on society to having goals and pride in having achieved them, to impacting another person's life, setting in motion a drastic change in her life journey. The ending leaves a lot to the imagination but the characters went through all this growth and their friendship makes you think they could reintegrate themselves into society again because they're different now and stronger because of each other.

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.

A great examination of the human condition.Set in Seoul, South Korea, a man decides to take his life by jumping off a bridge. His attempt fails and he washes up on a deserted island in the middle of the river. After initially trying to get off the island he decides that maybe being alone on an island is actually a good thing... After a while a reclusive young woman in a high-rise apartment spots him and they start communicating with each other...Great, thought-provoking, emotional story. Examines well the pressures we face, depression and loneliness, and why people would want to isolate themselves from the world. Also offers some alternatives...The initial plot is a bit implausible, however, as are some events in the sequence (especially his attempts to get off the island). This is not that important, however, as his being deserted on the island is really just a plot device, and, moreover, a metaphor.Great work from Jae-yeong Jeong and Ryeowon Jung in the lead roles.

In the mood for a quirky comedy that also tackles the human condition? It would be hard to do better than this gem. A man's failed suicide leaves him stranded on a river island in Seoul. He is so close to civilisation, yet completely removed from it. After several attempts to escape, he resigns to his lot and starts scavenging an existence on the small speck of land.Meanwhile a woman, who hasn't left her room in three years due to her scarred face, spots him by accident as she looks through her camera. In a sense she is as isolated as he is and the two start an unlikely relationship.It's hard to pinpoint here what makes this story work so well, but it walks the line between comedy and drama without becoming either ridiculous or sentimental. It's also an impressive film considering the few characters and narrow theme. This is a unique film - one of those rare types that defy genres and even cultures. The only thing foreign about this film are the subtitles - everything else is so close to being human that anyone can relate to its story.