Empire
The Handmaiden is numerous things at once. It’s a loose adaptation of British novelist Sarah Waters’ Fingersmith, it’s a milestone of LGBT cinema in conservative South Korea, it’s an unapologetically kinky slice of erotica Tinto Brass at his most florid would be proud of, it’s a Byzantinely structured tale of con and counter-con that makes real demands of its audience to keep up, it’s a stirring narrative of women escaping from bastard men, it’s a vividly sketched chamber piece, and — most importantly — it’s a damn good yarn. After the trip to America that seems to be a rite of passage for Asian directors (Kim Jee-woon and The Last Stand, for example), Park Chan-wook has followed up Stoker with what might be his best film — and that’s not a claim you make lightly about the director of Oldboy.
"If you are already a fan of this franchise, this is a very good option this weekend at the cinema. It's well made, the actors are great and the story/world setting is very interesting." - Bryan (Resident Entertainment)
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