Young-goon (Lim Su-jeong) believes she is a cyborg. In doing so, she refuses to eat and "charges" herself instead by licking batteries and having electronic shocks. Perceived as a suicide attempt, she gets admitted to a mental institution after cutting her wrist and connecting herself to an electric cord. We meet her mother and we find out about her mentally-ill grandmother who raised the former to believe that she has mice for siblings; we then discover Young-goon's attachment to her grandmother and her frustration to give back her dentures, while also seeking against the "white ones" who took her away. Aloof, she spends most of her time talking to simple machines and electronic appliances, in her attempts to become a better a cyborg.
Inside the hospital, we get to meet a number of caricatures, each having their own distinct quality and history. Perhaps most interesting of all is Il-sun (Rain), a young man who was confined because of his anti-social and schizophrenic nature. Apart from having the reputation of being a thief, the mask-wearing Il-sun is also believed to have the special ability of stealing other's traits. Eventually, Il-sun and Young-goon meet and the two develop a special bond; this is after the young girl asks him to steal her sympathy so that she can finally avenge her grandmother. Young-goon's mental instability worsens as she completely refuses to eat; and with the doctor's decision to administer electro-shock therapy, she is led to believe that has become fully charged with delusions of killing the medical ward by shooting bullets from her fingers. Meanwhile, the sympathy-filled Il-sun tries his best to help her get back to good health, doing everything to protect her up to the film's end.
Certainly Lim Su-jeong and Rain's acting are at the heart of this film, as both deliver sensational performances that definitely wins over its viewers. The two effectively blend subtlety and exaggeration in their delivery, making their characters even more colorful as they already are. Lim Su-jeong is charming as the quirky Young-goon, from her child-like innocence to her deadpan cyborg expressions; while Rain makes you fall in love with his endearing characterization as the playful Il-sun, utilizing physical comedy and even incorporating his singing skills to portray the cunning-yet-confused young man. Even the film's supporting players commit to notable performances, leaving us delighted by its bizarre ensemble at the very least.
South Korean director Park Chan-wook masters the whimsical romantic comedy genre by knowing when to hit the right notes. He avoids melodrama by infusing humor in scenes that can easily be dubbed overdramatic; as he also harmonizes overt violence through his actors' comical nuances. Indeed subtlety is key in his outrageous treatment, as he makes the most out of cinematic space by filling it up with excellent stage-blocking and marvelous production design; his mis-en-scene truly highlights the film's great production value.
"I'm a Cyborg, But That's OK" stands out as a modern gem of the genre with its unpretentious approach and its extraordinary characters that pop out from the screen. The film probably lacks the distinction of having quotable lines, usually found in most romantic comedies, but makes up by having its own signature moments - the image of the cyborg girl and the boy with the rabbit mask sticks in mind. You have to be nuts to not fall in love with this film.
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