Female similarity? Idek what that means because the two are SUCH different characters lmao. Like… one is literally a thief and the other is a rich noblewoman? Maybe it doesn’t carry over to Western audiences, but their bearings are vastly different due to their class and culture differences, and they speak and intonate differently too. They react differently to situations, with just one memorable example being Sook-Hee leading the destruction of the porn collection, something Hideko could not dream of starting after being brutalized into compliance all her life.
One part that strikes me about that scene is Sook-Hee hitching her skirts up and stomping on submerged books exactly like a Korean woman doing laundry–like she’s trying to wash out the memories of Hideko’s abuse at her tormentor’s hands. I cried watching that familiar mannerism being used as a gesture of righteous rage, empowerment, and liberation. If these reviewers don’t have the cultural knowledge to catch onto these specificities then I am not interested in their hot take. Yes, anyone can watch and enjoy the movie, but it’s imperative for those who would commentate on it to know the limits of their knowledge when it comes to a Korean movie made by Korean creators for Korean audiences.
And yes, it’s a potentially very problematic dynamic for a rich Japanese lady and a Korean commoner to fall in love, and Park Chan-Wook took every care to put them on even footing in their relationship and play around with traditional gender roles like the fucking national treasure he is. But that doesn’t mean they’re uniform, indistinguishable characters. The people who say their depiction flattens female characters or whatever don’t know what the hell they’re talking about and are missing huge chunks of nuance. Even worse, they seem to be implying the dynamics between female characters have to be unequal if they are to be distinct characters and not be sexist or whatever, which uh. How about no.
@filmsoundtracks do you want to comment on this too?