Lies is a film about intense sexual relations, subversive and unacceptable behaviour, that displays a vibrant relationship between the two protagonists 'J' and 'Y' but it also offers a deep insight into the human mind and how people are at times prepared to push back the boundaries of their bodies in a quest to achieve spiritual and metaphysical ecstacy. It was deemed 'pornographic' by the Korean authorities and banned in several countries around the world because of its unflinching depiction of flagellation, perhaps the symbol of sado-masochism that is currently envisaged by 'mainstream' society throughout the world. It exposes the inherent link between religion and perversity. When perversity is unsullied it ceases to be perverse but, conversely becomes the truest expression of love.
The film is constructed within the generic, chronological framework but its content is anything but regular. 'Y' is a schoolgirl and 'J' is a married sculptor and respected professor. This may seem to be classic pornographic fodder but when the characters emotions and obsessive personalities are drawn into the equation it becomes an entirely different beast. The latent links with religion are portrayed by two factors, the use of the actors themselves answering questions presumably manufactured by the director and the fleeting words of the narrator who, it can be assumed, is an illustration of the machinations of J's mental acuity. J seeks to dominate Y in the belief that this possession will purify his soul and pave the way to enlightenment and godliness. This idea is reinforced when; J turns to the camera and stares directly into the camera lens, his eyes incensed by lust and is warned that Y 'is the devil in disguise'. When Buddha famously achieved enlightenment he was tempted by all manner of evil posing as his innermost desires. He rejected these malevolent spirits because he searched for truth, and more importantly, he had total and utter control. J believes that if he can maintain control over Y then he will be leading a righteous path towards personal illumination. This reasoning is flawed because in order to maintain control over another, it is imperative that you learn how to retain control over yourself. J is unable to do so and it is thus inevitable that his power source will continue to dwindle until he is left with nothing but lies and ultimately, rejection.
Cinematically the film is interesting if not particularly original. Divided into sections that denote various meetings between J and Y there are scenes which experiment with different speeds to achieve various goals. Many of these do not work particularly well except one where time is slowed and the film is edited to display Y's physical reaction to the whip that is repeatedly lashed against her. The key is in the editing with only the moment of impact being recorded and this indicates the mercilessness of the attack. The music which is played is rhythmic, aggressive and controlled, although it is used sparsely it slots in with the general ambience of the film. There is a very short sequence under the title 'The Second Hole' which offers a completely different perspective from the rest of the film. The characters are seen from a distance immediately after Y's deflowering. Obviously the loss of virginity is an intensely emotionally period for a woman and it seems poignantly voyeuristic that we should see her at this time, especially due to the fact that the camera is hidden behind the door and the characters are 'unaware' that the camera is on them unlike the close-up of their features for lengthy periods. Sun-Woo cleverly implores the audience to dominate the characters as they are doing to each other. They are submissive and unwilling to the eyes of the judgmental viewer.
It is important in a film of this nature to understand the ever-changing roles that occur as the events unfold. Y, despite her acceptance to whip J, is never fully involved in the process in the way that J is. Their difference in views is most notable when one looks at the tattoos that they carve on each other. J carves the words 'You are mine' into Y's flesh—a sign associated with dominance and possession, while Y carves 'My love' onto J's skin—an obvious signal of romantic affection. Y remarks that her carving is 'deeper' and perhaps this is a reflection of how love can vanquish any opposition including an obsessive hunger for control. Y's behaviour is innocent and curious as represented by the way that she personifies the penis, most notably when she says 'Goodbye to it' near the climax of the film as well as other references scattered throughout the work. However this ideal is crushed when Y reveals the rapes and suicide inflicted on her sisters. She is already well versed in the nature of male sexual dominance and is able to turn it against him as the film progresses. It is important to recall that Y chose J as her sexual partner which asserts her femininity and in turn weakens J's stronghold over her.
Y's role changes considerably in the piece from being a vessel for J to conduct his sexual urges to holding her foot on J's back while lashing him and ordering him to say 'Yes Ma'am' on command. However as Y started off with J being her 'master' there will never be true change in their relationship. He tells her to whip him, she may appear to be dominant but it is belying the truth. She claims that it is exciting and a 'high' but her greatened sexual maturity knows that there are limits. For example, many young people experiment with drugs and enjoy the effects, but most understand that they cannot be taken to excess because it ceases to be 'fun' and becomes 'addiction'. J is so addicted to pain that his lust for it is so intense that no-one is ever going to be able to keep pace with him. As he realises that he will never see Y again he cries 'What about me?' trying to force Y to whip him and even turning the whip on himself. This comment is not about self-obsession as might be first-thought but because he realises that without being able to submit to pain placed upon him by Y his dominance over her means nothing. Ironically he justifies his dominance over Y because of the submission he imposes upon himself.
Lee Sang-Hyun and Kim Tae-Yeon as J and Y both give superb performances in their respective roles. They are utterly convincing and never shy away from expressing themselves in the most open terms. While almost all Western films concerned with the subject of S & M put emphasis on fashion and stylistic integrity, Lies does not fall into these traps and instead highlights the real problems between dominance and submission, power and control. It challenges us with questions that many would not like to answer. If you like raw, gritty, provocative and intense drama then this is a definite must.
