Lim Sang-Soo’s “The Housemaid” is why we have cinema. Lim Sang- Soo masterfully retells Kim Ki’s original tale (1960) with imaginative alterations capturing a striking balance between eastern and western cultures. It is the sort of film, a thriller that excites the audience to no end. Lim Sang-soo has already acquired significant commercial and artistic notoriety for his movies “Girls’ Night Out”, “Tears”, “A Good Lawyers Wife”, “The Presidents Last Ban” that expertly critique Korean society. He uses his movies to explore the political and sexual tensions and repressions built into Korean Society. He is renowned for his remarkable ability to bring a richly textured and multi-layered story to the screen.

Lim Sang-soo’s film is indulgent in a plethora of tastes that can be summarized by two scenes. The older housemaid Haera (Seo Woo); swirling, sniffing, and drinking her wine roughly, professionally and for the purpose of being drunk. In perfect contrast is Hoon (Lee Jung-jae) the young renaissance man, head of his household, artfully, ceremoniously twirling his wine glass. Not a drop is spilled between the two. Hoon is a wealthy, accomplished and powerful man with tremendous confidence and precision in everything he does. He is used to getting his way. Eun-yi (Jeon Do-youn, Cannes winner Secret Sunshine), is a somewhat pure yet damaged working class maid from a much lower social status than Hoon who initially seems to be an easy conquest. Such is not to be the case.

Lim Soo-sang is a creative genius behind the camera putting his unique stamp on the film. The film leaves no scene blemished.  A clever, sensuous and sensual tale is spun that is a delight to watch. A beautiful love story blossoms and we find ourselves beginning to anticipate a sour turn. Heads up and thumbs up. Engrossing to the bitter end.

Ottaviano Romano