Park Chan-wook has his own set of deadly sins. Sympathy is saved only for the devil; restlessness, hesitation, and guilt will not be tolerated; and lust and wrath are no longer forbidden but firmly back on the menu—along with a side of live octopus for the brave. Whether he shakes us to the core or makes us swoon, with Park’s films, there are always darkly pleasurable thrills to be had.
In the 2000s, the South Korean director made a name for himself internationally as a controversial auteur of extreme violence, earning admirers in Spike Lee and Quentin Tarantino. From then on, it was agreed: revenge was a dish best served by Park. For those familiar with the ruthless filmmaker of Oldboy (2003), the sexy vampire movie Thirst (2009) was something of a curveball. But it was a fan favorite before long, confirming Park’s new interest in eroticism and romance. The Handmaiden (2016) continued in that vein, with twists sinuous enough to make Hitchcock envious. Whichever genre Park takes to, he electrifies it with formal dynamism, narrative intricacy, and unparalleled style. It would be difficult not to finish any one of his agile and labyrinthine films on the edge of your seat.

Park Chan-wook has his own set of deadly sins. Sympathy is saved only for the devil; restlessness, hesitation, and guilt will not be tolerated; and lust and wrath are no longer forbidden but firmly back on the menu&#8212;along with a side of live octopus for the brave. Whether he shakes us to the core or makes us swoon, with Park&#8217;s films, there are always darkly pleasurable thrills to be had.
In the 2000s, the South Korean director made a name for himself internationally as a controversial auteur of extreme violence, earning admirers in Spike Lee and Quentin Tarantino. From then on, it was agreed: revenge was a dish best served by Park. For those familiar with the ruthless filmmaker of Oldboy (2003), the sexy vampire movie Thirst (2009) was something of a curveball. But it was a fan favorite before long, confirming Park&#8217;s new interest in eroticism and romance. The Handmaiden (2016) continued in that vein, with twists sinuous enough to make Hitchcock envious. Whichever genre Park takes to, he electrifies it with formal dynamism, narrative intricacy, and unparalleled style. It would be difficult not to finish any one of his agile and labyrinthine films on the edge of your seat.

Sympathy for the Devil: Three by Park Chan-wook

SYMPATHY FOR THE DEVIL: THREE BY PARK CHAN-WOOK

Electrifying whichever genre he takes to with formal dynamism, narrative intricacy, and unparalleled style, Park Chan-wook is an inimitable talent. Whether they shake us to the core or make us swoon with their dark romanticism, these seductive films are full of sinuous thrills.

Electrifying whichever genre he takes to with formal dynamism, narrative intricacy, and unparalleled style, Park Chan-wook is an inimitable talent. Whether they shake us to the core or make us swoon with their dark romanticism, these seductive films are full of sinuous thrills.