Wow, what a gut-wrenching movie. The King of Pigs is the second film I've watched from South Korean director and writer Sang-Ho Yeon, who previously made a strong impression on me with The Fake, his second full-length movie. The Fake is also emotionally intense but much more brutal, making it a definite recommendation for psychological thriller fans. But let's focus on The King of Pigs, shall we?

Plot-wise, this movie confronts you with themes rarely seen in mainstream media. Yeon seems uninterested in crafting morally good, relatable, or even likable characters, a trait evident in both The Fake and this film. All three main characters are ensnared in the oppressive and corrupt Korean school system, which warps them into despicable individuals. The progression they undergo feels painfully realistic, portraying them as people who genuinely despise their lives.

There were numerous scenes, ranging from uncomfortable to outright vile, that even someone like me, accustomed to disturbing and emotionally intense content, found unsettling. The film's scenes are disturbingly believable and authentic, evoking pure negative emotions. It forces you to consider that such realities could indeed exist for some people.

However, I believe this is one of the film's core strengths: its unflinching portrayal of absolute misery and hatred faced by these characters, presented with such authenticity that it mirrors real-life struggles. Such raw authenticity is uncommon in media, where most productions aim for safety and consumer-friendliness, avoiding controversy. Yet, occasionally, there are pieces of media that break these molds, offering a brutally honest interpretation of someone's harsh reality. The King of Pigs in my opinion falls into this category. Yeon excels in depicting "evil people created by circumstances," challenging the notion of inherent evil and suggesting that anyone is capable of it under the right conditions.

What I also find particularly compelling about this movie is its critique of certain topics. One of these critiques is directed against the Korean school system, which is quite obvious. However, another critique that I find even more intriguing revolves around the title "The King of Pigs." This title stems from Chul Kim, one of the main characters, viewing himself and others who are bullied or negatively affected by the Korean school system as "pigs" beings just waiting to be eaten or to consume whatever scraps others leave behind. In contrast, those who benefit from this system, typically the wealthy or privileged students, are seen as "dogs." Chul's warped moral perspective can be attributed to multiple factors, primarily stemming from his difficult life circumstances.

The other two main characters perceive Chul as a kind of "fake messiah" who will deliver them from this oppressive system because he bravely stands up against the bullies; hence, they nickname him the "King of Pigs." However, the film critiques this notion of creating a "Nihilistic Avenger," highlighting its inherent flaws. The narrative clearly demonstrates that Chul lacks a clear moral boundary in his quest to challenge the system. He himself articulates this internal conflict when he states, "I don't want to merely be 'evil.' I want to become a monster," a line that encapsulates his complex character perfectly in my opinion.

Overall, Yeon demonstrates his skill in crafting narratives that delve into the darker aspects of humanity, compelling viewers to confront uncomfortable truths about society and individual morality. However, direction-wise, it's decent; animation-wise, it's quite lackluster and visually unappealing for viewers. Yeon's character art style, while it may suit the themes of evil he explores, is rather unattractive and fails to enhance the viewing experience. Additionally, the music felt misplaced in some scenes. One scene, in particular, attempted to evoke sympathy for a main character, which felt questionable in a movie where every character is intentionally detestable. But my biggest gripe is how the movie ended with an open ending and no real conclusion to the plot; it felt more like a conclusive statement about the message of the movie, that "life is hard," which seems like Yeon didn't quite know how to round off the plot effectively.