After the terrible reviews received for her performance in “the most expensive movie ever made”, a Korean model takes refuge and isolates herself on the island of Qualla, in the South Pacific. There she falls in love with a charming, handsome and charismatic millionaire… who turns out to be a complete narcissistic and egomaniacal prick. Fed up with a marriage that reduces her to being a vase woman, she decides to get rid of him with the help and complicity of her young neighbor (and her fan). “There is a rule for watching this film: Don't ask why?” commented the Korean filmmaker Wonsuk Lee at the presentation at the Sitges Festival of 'Killer romance'a crazy and extravagant musical comedy with touches of thriller that, not coincidentally, is more enjoyable the less one asks… “why?” Because? Well, because we are facing one of those impossible overacting mixtures from the East. You take it… or leave it: Either with me, or against me. 'Killer romance' It is an exaggerated, bizarre and surreal fable that is absolutely kitsch and, beyond some underlying themes, is made not to be taken seriously. But why? Because it's about letting go and not asking why?, but why not? Take it or leave it: If you enter her game you will enjoy it like a little child; If you don't play their game it will seem silly to you. Which in essence it is, especially if you're wondering…why? instead of why not? At the end of the day, this is instant cult Asian cinema among a select minority with a ductile and thick palate. Of a film, in clear terms, socio-festive and without cultural complexes that hides in the same subterfuge as the cinema of, for example, Wes Anderson: It is the way it is because, simply, it is. Because cinema, like football, is like that.
