“人生似幻化,终当归空无。”对于金基德电影中的人物来说人生虽不过是南柯一梦,但还是要与命运较量。导演对于主角的抗争往往呈现出一种个性化的表达,这种个性化充分体现在他的代表作《空房间》当中。该影片用几个现实空间的串联将主人公的爱情故事从滋生到发展再到成熟的过程细腻地展现出来,空间成为了情绪变化的象征,每一个房间都带着主人特有的味道。正是这种空间的辗转推进着故事的发展,从而将观众带入无边的静默与思考中,不禁疑问这究竟是现实还是梦境?不论是现实的空间还是梦境的救赎, “Life is like illusion, and ultimately an empty face.” For the characters in Kim Ki-dynasty, though life is nothing but a dream of South Ke, but still have to contend with fate. The director’s protagonist’s struggle often presents a kind of personalized expression, which is fully reflected in his masterpiece “Empty Room”. With a series of connections in real space, the film shows the protagonist’s love story from birth to development to maturity delicately. Space becomes a symbol of emotional change, and each room has a host-specific flavor. It is this movement of space that drives the development of the story, bringing the viewer into boundless silence and contemplation, wondering whether this is a reality or a dream? Whether it is the reality of space or the redemption of dreams,