DVD Dwae-ji-ui wang

A haunting, hard-hitting animation about the problem of class struggle in South Korea and its disastrous connection to bullying. With its nightmarish art direction, it stimulates many radical emotions in the viewer, assaulting him with a most sombre tale of an atrocious past.

Two men struggling with domestic issues of their own meet after 15 years and reminisce about their extremely difficult school days. Their childhood was gradually being destroyed because of the ongoing, enormous and brutal pressure from the rich kids who ruled the school-grounds and often resolved to in-class violence. The fact that everybody around pretends that this horrible activity didn't even exist only made the whole issue worse and caused the richer kids to be even more confident of their impunity. The boys' last and only hope was their brave yet ferocious classmate Chul. He proved to be the only kid who wasn't afraid to stand up against the terror and tried to fight back using even more violence than his oppressors. Without any help from the outside the three friends came up with a most shocking plan – Chul will commit a public suicide. Without any hope for a brighter future they though of this extreme scheme as they only means to notifying the impassive adults about the horrible incidents that occur behind the school walls everyday.

Apart from evaluating the boys' decisions and presenting their differing viewpoints on the situation – and on what's about to happen – the film also reveals a grand mystery in its final act.

The plot is inspired by the director's dream, where his two friends decide to commit suicide as a revenge act for all the evil that's happened to them in the past.

The King of Pigs is a mightily dark and obscure anime, where horrible reality merges with confusing visions, only to deliver a stupendously convincing message to the Korean nation. Through the story of two men it shows that many childhood traumas have terrible lifelong effects. Memories are deceiving, but they play an important role in determining how people cope with their lives.

"Americans remind me of survivors of domestic abuse. There is always the hope that this is the very, very, very last time one gets one's ribs re-broken." – Inga Muscio

Grotesque and violent, Yeun Sang-Ho's "The King of Pigs" is a low budget animated film from South Korea. Like a demented take on Orwell's "Animal Farm", or Golding's "Lord of the Flies" (to which its title alludes), the film watches as a gang of privileged kids (nicknamed the "dogs") repeatedly brutalise and bully a school's lower class students (nicknamed the "pigs").

Orwell's tale saw one pig rise and destroy his oppressors. In "The King of Pigs" we see a poverty stricken student, Chul Kim, stand up to his bullying school-mates. Rather than a romantic hero, though, Chul is portrayed as a violent psychopath. "We must become more evil than they are," Chul explains, internalising the hate directed at him and re-directing it, tenfold, at those who brutalise him.

Virtually everyone in Yeun Sang-Ho's tale is understood as being either a victim or victimiser. Workers and employers, the rich and the poor, businessmen and prostitutes, students and teachers, men and women, bullies and classmates, humans and animals…they're all trapped in Yeun Sang-Ho's very rigid social hierarchy. Even those who seem to escape poverty ultimately find themselves back in financial debt, beholden to others. Capitalism as a form of psychic and literal violence, the film paints a world bound by the laws of competition, predation and psychopathy. "Money only follows the rich," Chul says, "you need to be a monster if you don't want to keep living like a loser."

Whilst Yeun Sang-Ho's film portrays a very real, contemporary problem in South Korea – a rise in Korean bullying is a result of both the parental/social pressures put on kids, and a limited number of local job vacancies – all his films are works of social critique which portray a more global situation. In "Pigs" we thus see a global, social hierarchy based on wealth; the ruling "dogs" and the subservient "pigs". This regime, which infects all social institutions, is enforced by the oldest all the way down to the youngest. Through them, violence is perpetrated against those lower in the social pecking order: the rich against the poor, men against women and humans against animals, who represent the lowest rung on the ladder and the most vulnerable.

"The King of Pigs" is blunt, unsubtle and pushes its ideas, themes and caricatures to every possible extreme. Women aren't only abused by husbands, but decapitated. Children aren't cruel to animals, but stab them repeatedly. Bosses don't underpay their employees, but beat and humiliate them in public. Like all good grotesque art, Yeun Sang-Ho deals entirely in extremes. Interestingly, the film's aesthetic limitations (low frame rate, small budget etc) only amplify its more grotesque aspects. The result is not only a film populated with freakish, disturbing characters, but one which taps deeply into a reality shared and suffered by many in our world. Elsewhere the film touches upon domestic violence, portraying it as a consequence of male disenfranchisement and male impotency (numerous studies have pointed to the correlation between male unemployment and violence toward women).

Like an animated version of Pasolini's "Salo", every scene in Yeun Sang-Ho's film is drenched in overt brutality or quiet, unsettling angst. The film's nihilism, which only occasionally gives way to compassion, reaches its apex with Yeun Sang-Ho's final scene. Here the film pushes past the moral bankruptcy of late capitalism to declare our entire species valueless. "Earth is covered by asphalt as cold as ice and by bodies colder that it is," a young killer muses. Yeun Sang-Ho's follow-up film, "The Fake", is equally misanthropic.

8.9/10 – Worth one viewing.