

The Handmaiden deconstructs colonial class hierarchies through seduction and deception, where wealth determines power—until women reclaim their agency.
1930s Korea under Japanese occupation. Con man Count Fujiwara hires pickpocket Sook-hee to pose as a handmaiden to wealthy heiress Lady Hideko. Park Chan-wook's erotic psychological thriller is a lavish, three-act con game where every character is playing every other character.
Director: Park Chan-wook
Starring: Kim Min-hee, Kim Tae-ri, Ha Jung-woo
Budget: $8.8 million
Box Office: $37.8 million
Contains: Mature Content
Common questions about The Handmaiden and its exploration of class warfare and social inequality.
The film uses a 'Rashomon-style' narrative where the same events are replayed from different perspectives. Part 1 sets up the con, Part 2 reveals the secret alliance between the women that completely reframes the previous scenes, and Part 3 delivers the final retribution. It turns a story of victimization into one of masterful empowerment.
The language switching is a tool of power and colonial submission. Characters switch to Japanese (the occupier's language) to assert authority or hide truth, while Korean is used for intimacy. Sook-hee destroying the Japanese library symbolizes the destruction of the colonial patriarchal authority that imprisoned Hideko.
While it starts as a mutual con—Sook-hee planning to institutionalize Hideko, and Hideko planning to use Sook-hee as a scapegoat—it evolves into genuine love. Their romance becomes the ultimate rebellion against the men who view them merely as objects to be collected, sold, or married for fortune.
The octopus is a reference to the famous Japanese erotic print 'The Dream of the Fisherman's Wife,' symbolizing the Uncle's perverse, objectifying fantasy. By keeping the octopus in a tank, the film highlights how he collects 'exotic' things—books, porn, and women—trapping them in a dead, stagnant environment.
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Curated by Filmiway Editorial Team
Expert analysis of class warfare cinema