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By Callum Nicholls.

British composer Rob Foster paints a simplistic yet effective background to the tale of Sean Ellis’ Metro Manila. Foster is a multi-instrumentalist himself and that comes across in his music, opting for the use of a small ensemble with electronic loops, sound effects and synthesizers in order to help narrate the film.

On his website the composer acknowledges the influence of Talk Talk, Sigur Ros and Radio Head, however it is clear to hear how his technique and style has been influenced by film composers such as Hans Zimmer in particular his soundtracks for Inception and The Dark Knight trilogy. This influence is evident in Foster’s use of very similar materials throughout the soundtrack based around long drones or sound effects that then have the instrument ensemble develop around them.

The soundtrack is hauntingly beautiful and does provide a excellent accompaniment to Sean Ellis’ Oscar nominated film, however at some of the more dramatic points in the film the soundtrack falls somewhat short never fully erupting into a climax that mirrors the action on screen. Nonetheless as the first soundtrack for a composer who is more predominantly a songwriter and multi-instrumentalist, it will be interesting to see how his style and technique develop into what is hopefully just the beginning of a very effective director composer relationship with Sean Ellis.

3/5

Kim Ki-duk continues his quest to ruin his audiences’ day.

For the majority of his career Kim Ki-duk has presented us with bleak films focusing on people’s horrendous psychology. From the despair of loneliness (Address Unknown) to kidnapping sociopaths (Bad Guy) to self mutilation (The Isle) Ki-duk has a body of work that forces his audiences to spend time with people they would usually like to cross the street from. So it is with his latest Pieta. Kang-do (Lee Jung-jin) is a debt collector who seems to take great delight in crippling “clients” so that they can claim the insurance money to pay back the debt. It’s steady work and damn it the man has his life pretty much mapped out. That is until a mysterious middle aged lady (Jo Min-su) turns up out of the blue claiming to be his mother. Initially trying to ignore what he sees as a deranged old lady Kang-do lets his guard down as the woman persists. This leads to events that could be described as a dark version of Stop! Or My Mom Will Shoot but probably shouldn’t.

Like many of his other works Pietà has a calm, methodical menace about it. If you’re a viewer who likes to enjoy the central characters company than you best move on. Kang-do is a relentless and remorseless as a great white. Seemingly existing only to maim one dead-beat after the next he stands firm as a symbol of stunted growth and hatred. As Jang Mi-sun first appears he tests the faith she has in her own story by subjecting her to cruel punishments. If you’re wondering these include making her eat a piece of his flesh and molesting/raping her. Mother or not these scenes make for disturbing viewing, give an extra harrowing element by Jo Ming-su’s blood curdling screams.

The story is essentially sparse, working around the developing relationship of the “mother/son”. It’s a credit to the two leads that they make for compelling viewing. She verges between deranged and maternal.  He is ruthless, menacing and a little bit frustrating.  Watching his ice-cold visage break down as he allows himself to actually love someone calls to mind the silent gangster from Bad Guy. In fact Pieta does feel like something of a thematic sequel to that earlier light-hearted romp  They dance around each other wonderfully as the psychological games play out. Also with most of Ki-duk’s films the visuals are stunning. Bleak as all hell but stunning. Certainly not a perfect film. It’s sheer joylessness will turn some off but those who are ready for dramatically and morally punishing fare will find themselves rewarded.

Pietà is out on DVD on 14 Oct.