Admitting an Attraction: Colonial Villainy, Visuality, and The Handmaiden (2016) as Critique

2016’s The Handmaiden is unusual among contemporary Korean films for more than one reason. Firstly, we have an explicitly queer, in fact erotically queer narrative from a country where LGBT rights are still very much a point of contention, especially in recent years (although there are grounds for optimism). Secondly, it is a South Korean film that has received a substantial amount of attention from European and American media; while Korean films have certainly been making the rounds at film festivals and art house cinema circles for years, it is still relatively uncommon to see a Korean film break into the American mainstream in terms of marketing and distribution, and receive coverage in publications as varied as The New Yorker, Indiewire, and Gawker (now Gizmodo)