Spring, Summer, Fall, Winter... and Spring: A soul's reverie through seasons

As art imitates life, there are some films that transcend the mere confines of celluloid and take on the verisimilitude of a meditation on life's ceaseless ebb and flow. Legendary South Korean filmmaker Kim Ki-duk's Spring, Summer, Fall, Winter... and Spring (2003) is one such cinematic experience.

Many years ago when I was going through a very troubled phase in life, an erudite of a gentleman that I idolise, on our very first tate-a-tate over coffee had insisted that I watch the film. He went on to become a great friend of mine. As life again put on the vesture of being a collection of tales about terribleness, I was rewatching the film again recently; and today also happens to be its 20th release anniversary.

The film is an exquisite paean to the ceaseless metamorphosis that pervades the human experience, elegantly intertwined with the cadence of nature's eternal ballet - all cocooned within the boundless embrace of the ever-shifting seasons.

Kim Ki-duk meticulously crafts a cinematic haiku, each frame laden with symbolism, each transition echoing the pulsations of life as it flows through us. As the film comes full circle, it imparts a profound revelation: much like the seasons' perpetual renewal, the soul, too, finds its path back to the source - transmuted and transcended.

Spring, Summer, Fall, Winter... and Spring unveils itself as a hushed secret, its narrative gently unfurling around a floating monastery ensconced upon a tranquil lake—an emblem of life's cyclical procession. Within this cloistered enclave, an aged monk and his youthful apprentice enact a primal ritual, a microcosmic allegory of existence's ceaseless gyration, traversing the undulating tides of spring, summer, fall, and winter. Each season dons its mantle as a metaphorical mirror to the human condition, resonating with emotions and experiences that transcend temporal confines.

In the tender embrace of spring, innocence blooms akin to the fragile petals of cherry blossoms, embodying the nascent allure of life's earliest moments. The monastery, drenched in the hues of rebirth, becomes a canvas upon which the innocence of youth is tenderly nurtured, radiating a profound sense of hope and the promise of fresh beginnings. The very lake that cradles this serene sanctuary serves as a metaphysical mirror, mirroring the pristine purity of the human spirit awakening to the world.

With the fervour of summer's advent, the canvas undergoes a transformation. The relentless sun not only scorches the land but also the hearts that reside therein. Passion ignites, akin to the wildflowers that carpet the landscape. Love, desire, and the allure of the ephemeral crystallise in the form of a woman who serendipitously enters this secluded sanctum. Her presence catalyzes a reckoning—a profound exploration of the tumultuous depths of desire, attachment, and ultimately, the transient nature of existence.

The melancholic hues of autumn sweep across the screen, much like leaves descending gracefully, whispering requiems for the inescapable march of change. Here, regret and karma intertwine like threads weaving an intricate tapestry, binding actions to their inexorable consequences in an uninterrupted continuum. The soul's past injuries resurface, akin to mystic symbols etched upon a wooden floor. The cyclic rhythm of life's seasons resounds through the lessons etched upon the heart—lessons of impermanence and the imperative of confronting one's own shadow.

Winter's icy breath envelops the landscape, cocooning it in a shroud of contemplative introspection. The circle completes itself, as the elder monk and his once-cherished apprentice, now matured, serendipitously cross paths anew within a realm divested of worldly distractions. The odyssey through the seasons emerges as a parable for the quest for enlightenment—an inward journey, purified by the passage of time and the wisdom gleaned from experience.

The caged snake, representing desire and temptation, becomes an allegorical mirror, reflecting the inner struggles of the characters. Kim Ki-duk deftly weaves these symbols into a complex tapestry of human experience, challenging us to confront our own desires, weaknesses, and the perpetual quest for spiritual awakening.

As the film circles back to its beginning, mirroring the cyclical nature of existence, it beckons us to contemplate the cyclical nature of our own lives. In doing so, Kim Ki-duk elevates the film from mere storytelling to a metaphysical rhapsody that resonates with the deepest chambers of our consciousness.

The film is not solely an ode to nature's cyclical rhythms but as an homage to the very essence of existence. Its visual poetry mirrors the intricate choreography of life—birth, growth, decay, and rebirth—inviting the audience to contemplate their place within this grand symphony.

At its core, this film is a profound meditation on the seemingly cyclical nature of existence, cleverly encapsulated in its very title. The narrative unfurls like the pages of a venerable tome, following the lives of a nameless monk and his young pupil as they inhabit a floating temple on a serene, secluded lake. Each segment of the film corresponds to a season, echoing the inexorable march of time and the ever-shifting phases of life itself. The temple itself, afloat upon the placid waters, becomes a metaphorical microcosm of our transient existence, drifting through the river of time, untouched by the tumultuous currents of the world beyond.

Director Kim Ki-duk adorns his canvas with arresting visual poetry that rivals the works of the most revered cinematic luminaries. The breathtaking natural scenery becomes an integral character in its own right, mirroring the inner landscapes of the characters. The tranquil lake, dense forests, and timeless mountains provide an exquisite backdrop for the spiritual odyssey that unfolds. Kim's visual language, reminiscent of a Zen ink painting, suffuses each frame with a sense of quiet contemplation, invoking a profound connection between the external world and the internal psyche.

Within this visually compelling milieu, the film explores the philosophical and spiritual undercurrents that ebb and flow within the human experience. It is in the interactions between the monk, his pupil, and the visitors who seek solace in the temple that the film's philosophical inquiry finds its resonance. Each season brings forth its own lessons, echoing the Buddhist concept of impermanence. The young pupil, who evolves from innocence to enlightenment, serves as a surrogate for the audience, accompanying us on our spiritual journey through the seasons of life.

Spring, Summer, Fall, Winter... and Spring stand as a testament to the power of cinema as a vessel for introspection and revelation. Through its lyrical visuals and profound symbolism, it invites us to explore the seasons of one's own life - to recognise the impermanence of all things, and embark on the lonely journey towards enlightenment. It is a transcendent meditation on the beauty, fragility, and enduring power of the human soul—a cinematic sonnet that lingers in the mind long after the final frame has faded to black.