He promises Sook-hee, that together they’ll masquerade as a handmaiden, Tamako, and suitor, Japanese-born Count Fujiwara, in order to swindle a pale, neurotic and isolated Japanese heiress – Min-hee Kim’s haunting Lady Hideko – out of her fortune. Tae-ri plays Sook-hee, a Korean pickpocket recruited by Jung-woo Ha’s caddish Korean conman. From across this divide, two female leads – played with deep respective finesse by Tae-ri Kim and Min-hee Kim – attempt to cross and double-cross each other, only to fall in lust along the way. In co-writers Chan-Wook and Seo-kyeong Jeong’s deft and cunning hands, Waters’s queer, corset-ripping period drama is relocated to Japanese-occupied ‘30s Korea, the class and gender tensions of the Victorian original filtered through a colonial lens. Park Chan-Wook’s rework of Sarah Waters’s celebrated novel Fingersmith feels a lot like rope play: kinky, knotty and deliberately delayed gratification, rolling in at just under three hours long.
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