In Song's other works, such elements sometimes feel forced or self-consciously arty, but here they blend with the otherworldly presence of the island and add a sense of mystery.
Git (which means either a triangular flag or "feather" in Korean) is surprising in several respects.
A peacock appears on the island, with no clear explanation or motivation.
And the tango, a very un-Korean pasttime, makes a striking appearance in the film.
As an omnibus work, 1.3.6 has to be considered a failure, especially as the three films (Jang's amusing Sonagi Epilogue, Lee's poorly-received Mobius Strip, and Song's poetic Git) don't match, not just in length but in form, content, mood, style, and quality.
But if Song betrayed the spirit of the omnibus project, he remained true to the needs of his film.
One hopes that it will be liberated from the other two segments of 1.3.6. At 70 minutes, it is a perfectly respectable length for a stand-alone feature film, and this is a movie that deserves to travel.
There is So-yeon's uncle, a middle-aged man with bleached blonde hair who hasn't spoken since his wife abandoned him.
One is that such a low-budget film looks so good visually.
In Flower Island, Song showed an unusual talent for the aesthetics of digital cinema, but here he takes it one step further.
Lee So-yeon makes her slightly thin character memorable through considerable screen presence, while Jang Hyun-seong of independent films Nabi and Rewind gives the performance of his career.
Whatever we feel about the character he portrays, Jang's performance is so real and natural that we can't help but be drawn to him.