

First film in Park Chan-wook's Vengeance Trilogy. A desperate kidney transplant gone wrong spirals into mutual destruction.
A deaf-mute worker’s simple attempt to save his sister's life through a desperate kidnapping plan spirals into a catastrophic chain of mutual destruction. As the first entry in Park Chan-wook's Vengeance Trilogy, this film strips away the glamour of revenge to reveal the raw, mundane, and inevitable tragedy of the 'eye for an eye' philosophy.
Director: Park Chan-wook
Starring: Song Kang-ho, Shin Ha-kyun
Budget: $4 million
Box Office: $2 million
Contains: Mature Content
First installment of Park Chan-wook's Vengeance Trilogy (Sympathy → Oldboy → Lady Vengeance). Shares core theme of endless revenge cycles destroying everyone involved, though stories remain independent. Establishes trilogy's signature moral complexity where every act of justice creates new avengers, setting foundation for Oldboy's personal obsession narrative.
Zero redemption arc—every revenge attempt catastrophically backfires. A simple kidney transplant tragedy spirals into complete mutual family destruction. Documentary-style realism shows vengeance's mundane, inevitable horror rather than Oldboy's operatic violence. Proves 'eye for an eye' philosophy creates endless tragedy chains with no winners, only escalating devastation.
Deaf-mute brother's desperate vengeance destroys completely innocent family, proving revenge logic consumes rationality. His pure intentions lead to monstrous actions, mirroring how Oldboy's protagonist rationalizes his brutality. This chain reaction demonstrates trilogy's core thesis: vengeance perpetuates itself across innocent generations with compounding tragedy.
Deliberately anti-stylized documentary realism vs Oldboy's choreographed violence poetry. Mundane cinematography makes revenge feel oppressively inevitable rather than cinematic spectacle. Sound design emphasizes awkward silence and realistic violence impact over stylized slow-motion. Forces viewers to confront vengeance's banal horror without artistic romanticization.
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