Teenage Hooker Becomes a Killing Machine (Daehakno-yeseo maechoon-hadaka tomaksalhae danghan yeogosaeng ajik Daehakno-ye Issda)

The merger of avant-garde and trash impulses constitutes a subterranean cinema history. This lively, ultra low-budget film is close to ‘60s funk art. Its basic gambit is brutal but brilliant: to cross the rape revenge film with Robocop, thus delivering a grungy, histrionic version of post-feminist justice. The musical collage is always at war with the images. The credits appear twice. There are strange extreme calm moments between the manically zippy bits. Its revenge-politics run on excess and intensity rather than lucidity. In the middle of all the cartoonish exaggeration, there are islands of pathos. But this wayward inconsistency of tone and meaning is part and parcel of the trash sensibility. (Catalogue International Film Festival Rotterdam, 2002)