In the DMZ separating North and South Korea, two North Korean soldiers have been killed, supposedly by one South Korean soldier. But the 11 bullets found in the bodies, together with the 5 ... See full summary »
A teacher lives a lonely life, all the while struggling over his son's custody. His life slowly gets better as he finds love and receives good news from his son, but his new luck is about to be brutally shattered by an innocent little lie.
Thomas Bo Larsen,
1930s Korea, in the period of Japanese occupation, a new girl (Sookee) is hired as a handmaiden to a Japanese heiress (Hideko) who lives a secluded life on a large countryside estate with her domineering Uncle (Kouzuki). But the maid has a secret. She is a pickpocket recruited by a swindler posing as a Japanese Count to help him seduce the Lady to elope with him, rob her of her fortune, and lock her up in a madhouse. The plan seems to proceed according to plan until Sookee and Hideko discover some unexpected emotions.Written by
Several of the characters in this film, adapted from the novel Fingersmith by Sarah Waters, were significantly altered for this version's script. Gentleman (Count Fujiwara in the film) was a gay man in the novel whose interest in Maude (Lady Hideko) was purely monetary. In the film, the Count is a suave womanizer. Uncle Kouzuki's novel counterpart is tamer, although he isn't a saint, he was never evil and prone to cold blooded torture like his film counterpart. See more »
The Count uses a propane gas lighter. That was impossible in 1930. See more »
Park goes back to the origins, with its cinema full of mystery, brutal but mostly exuberant. In his new film, Park, brings surely one of his best works, the plot is set in Korea in the thirties, in a time of Japanese occupation, and focuses on four main characters, Hideko, a Japanese heiress who lives isolated in the camp with Kouzuki, his domineering uncle, Sook-Hee, a newly hired maid, and a con artist who presents himself as Count Fujiwara to teach painting to Hideko. Being divided into 3 parts of lies and betrayals, the film has a huge camera work, abusing well-designed plans and space, both indoors and out, traveling through a mixture of English and Japanese architecture, the film is a breeze in the eyes of so beautiful, from the very accurate track, immersion in the beauty of Japanese erotic literature, the film explores well-developed characters, and of course, returns plot twist on plot twist, as the director knows well how to do, no doubt one of the best films of the year.
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