User reviews

Sex. One of the most overused element in cinema and often mis-used and unnecessary. I was concerned when this movie is announced, a mis-used sex scene could make the movie feels cheap.

This movie did manage to get it quite right.There were scenes of sexual attractions in many parts of the movie but it did not take away all other elements that were done well in the movie.

Thematically beautiful, the mansion itself is split half between a western and Japanese. The costume design and cinematography are perfect. The west : grand and luxury; The Japanese : Clean, simple elegant design.

The story can be summed up as a hero saving a princess and is split into 3 parts. I loved the first two parts, the third part was the only disappointing part where the plot was predictable and not as interesting and it being the last part makes the movie fell short.

The music is perfect. Just like Old Boy, music is more crucial than other movies. Old Boy is a movie that would make you think of a modernized hero revenge movie that is both realistic and unbelievable. The music have strong presence to help build up that world. Same goes with this movie as it is also a very realistic setting (you know the period of time it is based upon, the characters motives are clear and their actions are) yet with some very unbelievable events when you add everything together.

It isn't a perfect movie, I saw some editing that could be improved here and there. The last part was also a small disappointment for myself. But it is a damn unique movie that you have to watch.

"The Handmaiden" is a crazily imaginative and beautiful movie by Chan-wook Park, who is at the top of his game in this story of a pickpocket that tries to steal the fortune of a naive, innocent rich woman that has been secluded in a mansion in the middle of nowhere. Of course, things will start to get complicated soon enough.

Chan-wook Park has done a great job in adapting the original novel by Sarah Waters, and mixing it with the history of the Japanese invasion of Korea at the beginning of the twentieth century. The plot is a little bit silly sometimes, but Chan-wook Park makes it all tight and fast-paced, and even the most silly moment becomes a moment of beauty and fun. From the first moment, the viewer will be enthralled by the story of these two women and their relationship, and every plot development will just add fun to the whole.

If the plot and the direction weren't amazing enough, the movie is as beautiful as they come. From the darkest moment, the most violent, to the most intimate, beauty transpires in every frame, and every scene comes to life and threatens to pop and break free from the screen. This is helped by the amazing work of all the cast, who does an incredible job in bringing this tale to life (it could be criticized, though, some of the heavily accented Japanese, for characters that are supposed to be able to pass as them).

All in all, "The Handmaiden" is proof that a movie can have a plot, amazing direction, acting, scenery, craziness and the most beautiful package possible. And even if it is almost two hours and a half long, it feels like a breeze.

You will fall in love with this movie. Just plain great.

I knew nothing about this film coming into it, other that it being very well considered, and that it has some strong sexual content. This is probably the best way to watch it, as I did not know where the plot was going to start or go. Essentially a con man plans to seduce, marry, and abandon a wealthy unmarried woman – taking her from her uncle and then taking her money. To do this he employs the services of a young pickpocket to work as her handmaiden, and help work the plan from the inside, so to speak.

What the film does with this basic plot is enjoyable and engaging. The narrative is solid, holds the interest without effort, and is very well paced and structured. I wonder would it work as well if I had known the source material, or had more knowledge of the wider plot. As a con, the plot is solidly enjoyable and avoids the silly flamboyance of some films where such a plot would be allowed to turn into a 'caper'. Within the plot are some surprisingly sexual elements, and these sit across the sweet, the sensual, and the dark. There is also a good amount of humor where it matters – in particular in part 1 of the film, this is used well in relation to the main character.

The direction, production values, and general pacing of the film, all work together to give it a beautiful appearance and tone. It is quite sensuous to watch, with such great colors, sets, costumes, and designs. Within this the actors are all strong. Min-hee Kim and Tae- ri Kim in particular are engaging, although the downside of me being into their characters/performances was that it made the heavy nudity in some of their extended scenes feel a bit exploitative in nature. Jung-woo Ha is solid throughout, and Jin-woong Jo is just the right level of monster for the plot to work.

A richly enjoyable film, that sits across so many elements and looks so good that it keeps the plot engaging throughout.

The controversial film from Korean master Chan-wook Park evokes the sexiness of Abdellatif Kechiche's "Blue is the Warmest Colour" and Park's own signature violence and thrills. Set in the 1930s Japanese occupied Korea, it's a story of a young female pickpocket (Kim Tae-ri) who becomes a handmaiden to a beautiful Japanese heiress (Min-hee Kim). However, she must manage to convince the heiress to marry a conman (Jung-woo Ha) who poses as a count, for which she will get a chance for a better life. She gets into a moral dilemma when she starts developing feelings for the heiress.

The Handmaiden is a triumph on every level. The film is divided into three chapters, all giving different perspective. This way, the story is perfectly structured to give more and more insight as the film progresses, but at the same time, keep the viewers guessing. It offers a few surprises along the way as well. Visually, it's a feast for the eyes. The term "every frame a painting" gets overused, but it really fits here. I'm not only talking about cinematography, which offered plenty of memorable shots and beautiful scenery, but the costume and set design. The three leads all gave terrific performances. Musical score by Yeong-wook evokes, or better said, amplifies the emotions and the suspenseful tone. Despite the run time of 2 hours and 24 minutes, it never gets dull, it's very evenly paced throughout. I couldn't look away for a second.

One thing needs to be addressed, the film is quite explicit. That being said, it never gets vulgar, the sex scenes are done in perfect taste, they never feel out of place and they're not there just for the sake of it. The relationship between the characters and the physical presentation of it are integral to the film. It's a film about passion, abuse, jealousy, betrayal and deception, but most of all, it's an atypical love story, which will make one love and hate the protagonists at the same time. It's original and daring work of art that will stick with viewers long after it's finished.

Whenever Chan-wook Park makes a film, it must undoubtedly be compared to his masterpiece, "Oldboy". I don't think that "The Handmaiden" surpasses it, but it comes very close. With this film, he proved himself to be one of the greatest working directors today. It's the best film I've seen this year, one that I can't wait to revisit. It's not to be missed.

Not the craziest film content wise, that award goes to The Neon Demon, but definitely the craziest film storytelling wise. Park Chan-Wook's The Handmaiden is almost as good as the film that put him on the map, Oldboy, and brings such ferocity and energy that it will be one of the most unforgettable films of 2016.

Think of The Handmaiden as The Duke of Burgundy F'd Up Edition. This film is pretty twisted in the most unexpected ways from the cinematography that is very reminiscent of Possession in that it always keeps moving, eroticism that is reminiscent of Blue is the Warmest Color, performances as spellbinding as Carol, and the insanity of Park Chan- Wook as expected.

The cinematography is some of the most entrancing of the year. Shots that look like they came out of The Master. It's shots like these that make me wonder how was this even possible? It looks so damn cool!

The performances are perfect in sucking you into this world of erotica, selfishness, and trickery. Both female leads were fantastic. Min-hee Kim and Kim Tae-ri are amazing with sharing their sexual tension with the audience watching. It's films like these that are the most memorable. Making you feel how ther characters are feeling. Jung-woo Ha and Jin- woong Jo were great as these sexually and financially repressed men who do the most screwed up things to feel the pleasure they so desire. Nothing wrong with the cast at all.

Of course Park Chank-Wook hits it out of the part with directing. How else would this immaculate vision be done without him niche for detail. He always knows exactly what to do to get an emotion out of his audience and I applaud him for that.

The only negative is that during the middle briefly the pacing slows down a lot and it became really unbearable because I wanted to know exactly what was going to happen next. Thankfully it doesn't last that long and it's really minor that probably won't affect others viewings.

If you have any interest in The Handmaiden or you've just heard about it for the first time I strongly suggest checking this out as soon as it comes out. I'll definitely re watch it when it releases in theaters. Easily one of the best films of the year and one I hope to re watch soon.

Sarah Walters's novel 'Fingersmith', a tale of power, perversion, pornography and passion in Victorian England, gets a lavish Korean makeover in Park Choon-Wok's movie 'The Handmaiden'. It's certainly visually and thematically rich and provocative as it slides between frequently explicit romance, comedy and horror: if in part it aims to shock, it certainly does so in style. However, I struggled to like any of the characters, all of whom seem as selfish and ruthless as each other, and felt no especial sympathy for the female leads simply because they happen to fall in love/list for each other. The film should perhaps be seen as a paean to desire, in all its oddness and intensity. But for all the artistry, I never quite escaped the feeling of a tale told by schoolchildren, snickering behind the bikesheds.

The Handmaiden is a film that unfolds with a classic film stylist (in particular I felt like Chanwook Park was in a kind of Brian De Palma mode as far as making an erotic dramatic-thriller with a camera that luxuriates in long shots, elaborate camera movements, and cinematic grammar that emphasizes operatic intentions, though it's maybe not the first time he's done this anyway), and is LOADED with story. What appears to be the story of a handmaiden who is put in as part of a long con by a man who wants to steal this wealthy woman's money is actually a story about storytelling, about weaving a pack of lies and an entire personality and, in reality, how that can start to crack apart when it comes to seeing humanity in another person and their vulnerabilities.

There's a lot going on in this movie, and there is a lot that is... sordid and over the top in its sexuality. That's intentional, I'm sure, and Park never coddles his audience with what he's showing as far as sexuality; the two main women of the film, the handmaiden and her master/mistress or what have you, end up having an emotional connection and this leads to a sexual one. This has the most graphic lesbian sexuality on screen since Blue is the Warmest Color, but here the rawness is matched by the elegance of Park's direction, and while you get to see much of it, only some of it (but there *is* some) that is gratuitous. Otherwise, this is a story of backstabbing and betrayal, but all of it leading up to being in the larger sense about how people fit in to the circumstances they are in, how they have to not simply play but BECOME the characters they're playing - and how these images flip based on perceptions and how we see the scenes.

Here's where I may become less articulate in my criticism: the film is in three parts, and I forgot about there being 'parts' as I was so into the film during its first part. There is a major betrayal, but then the movie goes into a 'Part 2', and it turns into a different story... a VERY different kind of story, and it is one that left me confused at first, left adrift, and only Park's direction kept me afloat. As Part 2 went on I got into the movie more, though you have to be prepared for scenes from part 1 being repeated - and whether this becomes tedious will vary depending on the viewer. Nothing is ever not gorgeous to look at, and Park is inspired by paintings and art in the real world, and it's completely sumptuous (I'd be rooting for this to win all the costume/production design awards come February), but there comes a point where the filmmakers are showing the 'here's what happened this scene' moments a little too much. I won't reveal why this is done except to say that the characters take on other roles we didn't expect, and their decisions and how they hide parts of their personalities makes for fascinating viewing. Some times.

And then it gets to part 3, and the movie goes into being sordid melodrama and not much more. By this time, the filmmakers have to wrap the story up, and show what this man who has been trying to machinate everything for his own ends is met with a nasty fate. Overall there's so much about The Handmaiden to admire, from the performances by Min-hee Kim as Lady Hideko (appearing in part 1 as varieties of cold and distant and then close and warm and terrified in the other parts), Tae-ri Kim (Sookie, who has much to learn about the art of performance, I mean her character not the actress, she's great), and Jung-woo Ha as the 'Count' who has to remain in control for the whole runtime, but gives in to his passions too. And yet I also wonder if a first viewing trying to explain everything how I felt doesn't do the film justice: it moves slower and more languidly than other Park films, so it took longer to get in to, and the themes of conning and performance may be done stronger in any given Quentin Tarantino film (though here done with more taste and intense sexuality - i.e. the scene with the thimball on the tooth).

Another viewing may give more, or less. I can tell you now it's worth seeing if you love pure CINEMA, the likes of which get made by directors with a passion for the form and expressing stories of early 20th century sexual excess and emotional f***ed-up ness (it is early 20th century Korea with a major Japanese influence - in that way it'd make a solid double feature with Kim Jee-Woon's Age of Shadows). As for whether it's a great film, I'm not so sure.

The photography in this movie is absolutely stunning. The landscapes are amazing and so are the indoor shots. The manipulation of colour is done masterfully as well.

But other than that I had trouble finding any substance to the film. I enjoyed some scenes, the interaction between actors, but most of them did not feel real so I didn't really take anything from it.

There are several slow parts where scenes are replayed from a different perspective and it's mostly interesting for the sexual discovery the characters partake. Actually, there is not much to it other than the sex.

It was okay, different from what I usually watch, but I was expecting something more special, especially after watching such an amazing trailer.

Park Chan-Wook explores the power of narrative (the way you tell a story and its ramifications), creating another astounding visual spectacle full of dark humor, sexual desire, betrayal and revenge, with intense performances and a wonderful production design, editing and score.

The Handmaiden is a beautifully told story in a beautifully shot film. Some of it's chosen exterior locations are so captivating and mesmerizing, you almost feel you're there, or wish you were. The actresses are beautiful and perform nothing short of excellent, the young girl (The Handmaiden) especially, such a professionally acted job. You'd expect more so sex scenes, that kind of left me a little downtrodden. The major lesbian one, amidst only a couple of others, in this near two and half hour piece, is one of the hottest and most explicit, I've ever seen, this one again, beautifully shot. The story involves a young girl, a new handmaiden, forced to defraud the wife of the husband, only the young girl falls for the wife, where the story kind of manipulates you, as to where the girl's intentions will lead, where revenge is thrown in too, as we go back in time to an earlier period, involving our young girl, and the wife, where we find ourselves returning to some old scenes, but with added stuff- purpose here. This is one you'd have to watch a couple of times to get the complete picture. Didn't understand the change in color of the subtitles, my only qualm. Acting by all is top notch, and our handmaiden is definitely something to ogle at. A handmaiden who's beautifully made. We too have some violence, and some humorous moments. Hopefully this film will command more attention from moviegoers in Adelaide, as here's one faultless cinematic experience, you should experience, and by no accounts, miss, as it will be your loss. The most impressive thing here though, above everything else here is the filming/photography from obviously a very talented photographer.

This is a movie without flying plots and you don't feel bored at all for the entire movie. Many layers of deceptions from different views. Worth watching for not only one time. There are tons of forums talking about this and mentioned that this is based on a TV series of BBC. Now I'm curious about that TV series.

The Handmaiden contains multitudes: It's a sumptuous romantic period piece, as well as a sexy spy thriller, replete with secret identities and triple-crosses. It's an extended commentary on Japan's occupation of Korea in the 1930s, and it's an intense piece of psychological horror from one of the masters of the genre, Park Chan-wook. But more than anything, The Handmaiden is just pure cinema, a dizzying, disturbing fable of love and betrayal that piles on luxurious imagery, while never losing track of its story's human core. For Park, the Korean director of crossover genre hits like Old Boy and Thirst, the movie feels like an evolutionary leap forward in an already brilliant career.

I watched the longer Directors Cut of the movie and it is something to behold. A very interesting story, that might have intrigued someone like M. Night Shyamalan too (I always have to think if I wrote that correctly - would be nice if imdb had a feature where it recognized names and helped one out). The story and its pace are fairly easy and slow to follow. There is nudity and adult situations (not sure if they are cut in the theatrical release), but that is not something that should be disturbing the viewer at all. If it does, maybe the movie is not something you should watch (or read up on if there is less nudity in the other cut).

Having concenterated way too much on that aspect (it is what it is as someone recently said in a way worse context), the movie is well told and may reprise certain moments to give the viewer a fuller picture of what he experienced - which overall is a nice thing, but some may find redundant. Park Chan Wook is more than Old Boy, if you are still stuck on that (great movie no doubt), and he more than proves it here

It's a slightly sordid affair, with plenty of flesh that's flayed and bare, but it is worth a look, it deploys quite a hook, to entice, to entangle, ensnare.

A magical and mesmerising story that elegantly delivers and bestows; wraps, engulfs, smoothly flows; charms, chastises and glows - all the attributes your most adoring handmaiden should show.

I saw this tonight at London Film Festival and Park Chan Wook was there, to answer Q&A. A very special moment to me.

I would advise anyone new to Park Chan-Wook's filmography to first explore his vampire flick 'Thirst' which has a similar style. 'Oldboy' is a cult classic, but more of an opium-filled, octopus eating thrill-ride, which this film is NOT, so be advised. I also think having SOME knowledge of Japanese rule in Korea is essential for understanding this film, or it will be above your head. Do some surface-level research on Japanese annexation of Korea and specifically the infamous 'comfort women'.

Completed that? OK now you're ready for this journey.

Now let's focus on the best part. The villain. This IS the best villain in recent memory. Seriously as far back as Hannibal Lecter. Uncle Kouzuki, is more creepy than Burton's Penguin. Compulsory viewing. I cannot mention anymore out of fear for spoiling the intricate plot. Highly recommended.

Park Chan Wook's adaptation of Sarah Water's historical crime novel is beautiful. This is no surprise as all of Park Chan Wook's films are beautiful. Chung Chung-hoon (Park's cinematographer since Oldboy) has once again delivered one of the more visually stunning films of the year. Vivid colours are used provocatively to invoke a fanciful vision of occupied Korea. What is a relief is that the film contains the compelling characters and deep insight that Park's last film, Stoker, unfortunately lacked.

Park has returned to the theme of female sexuality that he previously explored in Stoker and Thirst, this time focusing on a burgeoning relationship between a young heiress and her handmaiden. However as you'd expect from a work adapted from a crime story, there are a great many twists in the story. What sets this apart from other erotic crime fiction (aside from the technical prowess) is our emotional engagement with the story. This can be attributed to the excellent performances, especially Kim Tae-ri as Sook-Hee who is at times subtly hilarious and deeply heart-breaking. Ha Jung-woo is wonderful as the conman who attempts to manipulate both women.

There is the same potential problem with this film as Blue is the Warmest Colour, namely that this is a film about female sexuality as written and directed by a man (admittedly in both cases adapted from works by female authors). Just as with that film I feel there is more going on here. The film concerns itself with the excitement of new love and its ability to liberate us from seemingly inescapable circumstances. However with this film, I believe that Park may have anticipated this issue.

One of the more interesting themes of the film is sexual exploration. At the screening of the film I attended Park Chan-wook mentioned that his fans in Tokyo have nicknamed him the "intellectual pervert". As we explore the household of The Handmaiden we realise that some very niche sexual practices are being explored, tantalisingly hinted at by a pair of brass balls found in a drawer early in the film. Around the midpoint of the film we are presented with a room full of men watching a woman tell an erotic story. We see her tell multiple stories involving tentacle beasts, asphyxiation and object sexuality. The men are entranced by this erotic display, whilst the film presents it as a lurid and rather cold affair. The woman is being exploited.

This is contrasted by the incredibly warm and intimate filming of the love scene between Sook-Hee and Hideko. The scene is actually visited twice during the film from different perspectives. The scene is very erotic and exciting, not least because we know these characters and understand what this experience means to them. I believe we are to contrast these scenes. One is titillation derived from imagined scenarios, the other is the genuine eroticism of seeing two characters we care about connect physically. Yet perhaps we can allow this opportunity to contemplate our voyeurism. Even though we understand their situation better, are the character still being exploited for our benefit?

Relocating the film from Victorian Britain to 1930s Japan has an interesting effect on the story. Whereas the recent film "When Marnie Was There" (a studio Ghibli production of an Irish novel) moves the action to Japan with only some aesthetic nods to its original setting, Park uses this as an opportunity to comment on the period and place. The film is set during the Japanese occupation of Korea. Early in the film it is mentioned that Kouzuki, the man who built the house, combined eastern and western traditions. This contrast of designs is evident throughout and creates a dynamic impression of a country transforming.

Ultimately this is Park Chan-Wook's most engaging and entertaining film since Thirst. His trademark dark humour, startling violence and kinky eroticism are all in full effect. If some of those elements put off certain people, then that's just all the more reason to cherish the film. I look forward to seeing it again when the film is generally released next year, as I'm sure there is much more to see.

This movie disappointed me. I knew that coming out of a relatively homophobic country, it probably wouldn't be groundbreaking in that sense, but I still hoped that it would set a good standard for lgbtq movies.

The plot itself is great. It follows the plot of 'fingersmith' rather closely, except it is set in 1930's Korea. It has many plot twists and strange characters that keep you on your toes.

The cinematography is also, of course, beautiful. The costumes and sets are magnificent and appealing. It has a great soundtrack and also good acting.

So why do I give it a 6/10? It mostly has to do with the fetishization of lesbians. The sex scene is ridiculous. They scissor, for chrissakes. No one does that in real life. It is dramatized and obviously panders to a male audience. It does nothing to further the plot. I was incredibly disappointed in this scene. It was a complete waste of 10 minutes (yes, 10 minutes). It watches like porn, the kind made specifically for men.

To make matters worse, the two female characters are not very fleshed out. They meet, they have sex, now they're in love. There is barely any conversation between the two. The two lead actresses do a superb job of portraying sexual tension, but it is thrown in your face early on. Being gay was not exactly the norm in the 1930's. It's unlikely that two women would act so, well, gay around each other so soon after meeting. That adds to the idea that their relationship is being used for the sex appeal and not for the plot.

Yes, this movie is worth watching. But don't go into it expecting an empowering message for lgbtq viewers. They could have done a lot more with the relationship movie, but instead they decided to play it safe, throwing away an accurate representation of a gay relationship. I suppose the world is not ready for a real lesbian movie.

It's pornography (including sadism) interwoven with an intricate, silly plot--if this intrigues you, fine! I had trouble with the absurd set-up to the film, which is (and feels) way too long because the graphic sex scenes are virtually endless. There are three points-of-view, and the film invariably slips out of POV from time to time. That said, the settings, costumes and cinematography. are absolutely gorgeous, as are the female actors. Except for a twist or two, the film goes nowhere and is about nothing. The Korean and Japanese dialogue (as translated) often sounds like a cross between what one would find in a romance novel and hard-core pornography--breathless, over-the-top, no pretense of being remotely realistic. Nevertheless, the reviews have been extremely positive and the people in the audience when I attended seemed really to like this film--I am hard-pressed to understand why. While the characters in the movie are lusting for each other, and making an all-out effort to titillate viewers, I hunger for a story that has character development and a journey worth traveling.