I don't know but I'm glad to see you

Mine is still Oldboy and I'd love to see you do a video on that one day. I think it is a perfect revenge film and one of the best ever made. Just subscribed about a week ago. I love your film essays and can't wait to see what else comes.

Lady vengeance is my favorite.

It's the Handmaiden. Hands down it's his masterpiece.

Forget favorite Park Chan-wook film, I think the handmaiden will always be my favorite film of all time. Although I do love all his films and recently rewatched his amazing vengeance trilogy!

Agreed

@@calhuh1232 where can I watch it?

@@bindu4401 is that an app I can download or..?

@@roarroar5597 Fbox to

You just enjoyed all the lezzing out, you perv.

As a straight woman I can say the sexual scenes were too much graphic for me 🤕

@@Ash-dj5ph imagine being gay, it's like that all the time, there are a million straight scenes

@@strange2970 fax

@@strange2970 true

@@Ash-dj5ph to me they seemed really soft ?

Now we need an incel movie where the nice guy gets the girl

Oldboy parasite memories of murder better

Same

I've seen it twice and same, it deserves much more attention honestly! I'm so close to rewatching it soon💙

I only just watched it having watched Mr Vengeance, Oldboy and Lady Vengenace many years ago. I was totally blown away by it and it really is a film that resonates with you after and feel like it was his best yet. I was so shocked to see so little talk about it everywhere and surprised to see many people's reviews on it being pretty much, 'shame it wasn't Oldboy, if only he made another Oldboy that would be great!'. Maybe after more people see it for themselves it will become a cult classic. I know I'll definitely be rewatching it multiple times to pick up so much I missed the first round.

I watched during the summer of 2020. I re-watched it earlier this year and I scoured the internet for more

❤❤❤

If your bias is masterpiece like this one. Your biases are in the right place.

The most fundamental difference between Portrait and The Handmaiden is actually around which "gaze" they are trying to push forward, how they manage it, and its results. In The Handmaiden, the director tries really hard (and succeeds, mostly) to avoid any male gaze. Often, we will get either wide large shots from a distance (almost like a "camera gaze" of sort) or Hideko & Sookhe looking at each other - and therefore we have the female characters' perspective, looking at each other. We can truly see this intention in the two sex scenes: the first one starts above the bed + Hideko & Sookhe and then takes both characters' POVs, we still have both characters including a man into the scene via the dialogue (like, "what would the Count do to me/like?" and "let me show you what the Count would do"). However, the second version of the sex scene proposes wide shots, where we see entire bodies having queer sex and there is no mention of any man, they're just reiterating their commitment and love to each other. But the thing is - and this is the main difference with Portrait I believe - that this scene is not telling the spectator "this is queer sex, you may relate or connect with this experience as a queer person/woman". No, its telling the spectator "this is queer sex, and as a man you are excluded from it even though you're still enjoying it from afar". Whereas Portrait is trying to communicate with women spectators (or even all spectators), to integrate them into the narrative and in this relationship between Héloïse & Marianne, I think that The Handmaiden was less about giving women (queer women especially) something to connect with, and more about confronting, denouncing men and make them uncomfortable in front of this lesbian love story (when, usually lesbianism through the male gaze is only used to arouse those fine gentlemen - basically like the uncle characters and his suits-wearing visitors). I still love The Handmaiden, it's probably in my top 5 best movies of all times, and I do believe the director avoided (in a way) the male gaze, and obtained some kind of female gaze, but it still reads like the intended main audience for this movie was primarily men to me - even though it's done with a fascinating subversive plot and great rep for queer women!! In Portrait, the artists is trying to paint the muse but the muse refuses to be the object, and eventually becomes an essential part of the creative artistic process. In The Handmaiden, the muse is oppressed and used and finally liberated by Sookhe (and by herself), but it feels like she can't truly escape the pervert patriarchy she grew up in (after all, the last scene is two women having sex with the littles balls thingy, which was a thing described in the porn books by the uncle, even tho they're supposed to be free from his influence... I don't know if this scene is a fantasy coming from the Count's mind before he dies or not, but it's still a weird way to end the movie to me). Anyway, hope this comment isn't too messy and interesting enough, I just went on a ramble there!! Have a nice day! 👋

@@elsafowl I totally agree! I had a similar discussion with someone else about the constant comparing of the Handmaiden with Portrait, usually to the detriment of the Handmaiden. And I think the main difference for me remains in the good vs bad (or less happy) ending. I felt like the Handmaiden did enough to “include” me as a queer woman that the men in the story became almost just accessories and obstacles meant to be overcome in Hideko and Sookhee’s relationship. At the end of the film, they don’t matter; they are inconsequential. I also find the rep that the Ben Wa balls get in the Handmaiden fanbase is undeserved, because they were real sex toys made exclusively for women’s pleasure, and very importantly not phallic- something that feels like it was made up for a historical object. Yes they were included in the story that Hideko had to tell earlier in the film, but that does not make them less centrally female objects. A lot of liberation and self actualisation tends to come from acts of reappropriation-taking back what was taken from you and making it yours again. But at the end of the day I think the main difference remains in the ending. The (fictional) reality of Hideko and Sookhee’s happiness was more important to me than whatever kind of nebulous authenticity it was that Portrait tried-and mostly succeeded-to present. A good ending means more to me than artistic integrity, apparently.

@@petrab.7780 or maybe you just hate depressing endings, which i can also relate to lol

I don't normally comment on videos, and I know I'm a bit late to reply, but I gave half my lifespan looking for someone to say this. The book is one of my favorites of all time and it almost hurts watching it go unacknowledged in relation to this film, which was, indeed, very good. Also, it differs from the plot of the original book at the twist in a way that I liked, and I'm not sure a lot of people are aware of that.

@@annalmao309 never too late to comment! I don't think I will ever forget Fingersmith. It's one of those books that sticks with you.

Thank you that book is amazing and it never gets mentioned! I read it years before watching the movie

where did you watch?

Same. Was watching the ‘my tamako, my sookee’ scene this morning and this popped up 🤓

This is happening to me now. I’m so late in watching the movie (6 years later and I’ve watched it the first time last month) and I’m so crazy over everything in the movie and can’t get over it. I’ve rewatched it a lot and keep telling people to watch it (actually worked 😂) ❤

Exactly my thoughts

좋게 봐주셔서 감사합니다 :)

Well thank you very much. And I'm definitely using 'like a sugar glider' from now on to describe things.

감사합니다 :)

Absolutely. There's a weirdly similar atmosphere in both films and that's why I made a video on Decision to Leave as well!

why thank you. It was chaotic...

yep totally with you. Fun fact: he only had 10k subs last month so that 'blowing up' happened once already!