Based on the novel Finger Craftsman's Love by British woman writer Sarah Waters, Park Chan-wook moved this elaborate plot from Victorian Britain to Japanese Korea, which not only gave the film a political metaphor that the original did not have, but also showed the amazing but same-sex erotic theme of Rashomon with a three-stage narrative structure.

In the film, it not only stimulates the senses, but also forms a highly unified film aesthetics with exquisite and beautiful shots. The plot brewed under this circumstance, with the interlocking advancement of the plot, reversed again and again, making the film have the charm derived from the plot.

abstract

During the Japanese imperialist period in Korea, Xiuzi (Jin Minxi) was an aristocratic lady. Last month, she was adopted by Jiao Ming (Jin-ung Jo) as an erotic illustrator novelist, and was regarded as an enviable flower in the greenhouse by outsiders. But I didn't know that she was actually Hua Dan, who was trained by her uncle last month to replace her aunt who committed suicide.

Fujiwara (Ha Jung Woo) is a swindler who pretends to be an earl. He invites the maid of do miss (Jintaili) who grew up in Suki, the thief's parents, and then imprisons the young lady in a mental hospital and embezzles her property.

Suki readily agreed to the count's request for money, and the housekeeper Sasaki (Jin Haishu) took her into the boudoir. But while taking care of the sensitive and slender young lady, the two gradually developed feelings. With the subtle reaction brought by eye contact and physical contact, the two finally got together, broke through the layers of ethics, and prevented all's well that ends well from taking the passenger ship that fled to Shanghai.