Ordinarily, one might expect that a total absence of dialogue would be the most distinctive element of a movie made in the 21st century. Rest assured this is not what you will be talking about should you venture out to see Kim Ki-duk’s Moebius, a film that blithely dallies in multiple outrages and borderline-unbearable horrors. The South Korean filmmaker has proved himself adept at projects both delicate (Spring, Summer, Fall, Winter . . . and Spring) and wild (Pieta), and in either mode he can seem like a scientist demonstrating a preordained theory. His ideas are sharp, but the execution sometimes sterile.
The skill is still on display in Moebius, even if the film’s watchability is a distinct issue.