A peacock appears on the island, with no clear explanation or motivation.
And the tango, a very un-Korean pasttime, makes a striking appearance in the film.
One is that such a low-budget film looks so good visually.
In Flower Island, Song showed an unusual talent for the aesthetics of digital cinema, but here he takes it one step further.
This may have been what happened with Git by Song Il-gon, the director of Flower Island (2001), Spider Forest (2004), and various award-winning short films including The Picnic (1999).
Queda prohibida la reproducción, distribución, comunicación pública y utilización, total o parcial, de los contenidos de esta web, en cualquier forma o modalidad, sin previa, expresa y escrita autorización, incluyendo, en particular, su mera reproducción y/o puesta a disposición como resúmenes, reseñas o revistas de prensa con fines comerciales o directa o indirectamente lucrativos, a la que se manifiesta oposición expresa.As he waits, the pressures of his work life start to recede, and he becomes acquainted with the young woman who runs the motel.Named Lee So-yeon (played by -- sure enough -- actress Lee So-yeon of Untold Scandal), the woman is twelve years his junior, and possesses an unusual energy and enthusiasm.In Song's other works, such elements sometimes feel forced or self-consciously arty, but here they blend with the otherworldly presence of the island and add a sense of mystery.Git (which means either a triangular flag or "feather" in Korean) is surprising in several respects.One hopes that it will be liberated from the other two segments of 1.3.6. At 70 minutes, it is a perfectly respectable length for a stand-alone feature film, and this is a movie that deserves to travel.(Darcy Paquet) There was a lot going on in the world of Korean film at the beginning of 2005.To capture a natural setting so well on a medium that often feels cold and sterile is an unusual accomplishment.The relaxed, convincing performances of the actors also deserve notice.As an omnibus work, 1.3.6 has to be considered a failure, especially as the three films (Jang's amusing Sonagi Epilogue, Lee's poorly-received Mobius Strip, and Song's poetic Git) don't match, not just in length but in form, content, mood, style, and quality.But if Song betrayed the spirit of the omnibus project, he remained true to the needs of his film.