A riff on Hitchcock films and themes, especially Shadow of a Doubt, becomes a place to experiment as Park Chan-wook moves away from his Vengeance Trilogy and into his current fascination with layering ideas visually into thriller narratives. Sexuality is the glue holding it all together. It’s never explicit, but his frames are frequently charged with skin and soft fabrics, infecting every space with lust. And murder, sometimes his characters just want to destroy what’s around them. The film is ultimately a puzzle with characters holding their motives close. This can be frustrating, but here it’s fun and makes for rewarding rewatches.
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