The latest film from Oldboy director Park Chan-wook
, which follows the uncanny, slow-burn romance between Hae-joon and Seo-rae. Through every forbidden turn and each disconcerting step in the game of seduction between the pair, Park never makes clear the film’s true protagonist or antagonist, criminal or victim. Instead, he leaves us with an excruciatingly ambiguous puzzle about love, innocence, and truth.
It is, therefore, only appropriate that the eye emerges as the central motif of the film amid the webs of distrust, surveillance, and suspicion that envelop both the covert romance and unsolved death. Park is obsessed with eyes and all the human desires and impulses which they animate: wanting to see, fearing to look, seeking truth, concealing reality, and surveilling others.
On the surface, eyes represent openness, allowing living things to access and assess others — the proverbial “windows” to other souls. However, in, Park instead suggests that eyes are equally capable of deceit through their ability to manipulate and surveil.
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