I’ve always been drawn to darker, more seductive, and, in some circles, taboo imagery, particularly in formats more readily available to a non-fine art audience, such as books or magazines. The more risqué, the better. It is exciting when people find community within their niche tastes, where open sexuality is not just celebrated but encouraged … Continue reading
Park Chanwook’s latest masterpiece The Handmaiden is a wonderfully claustrophobic, seductive thriller set in 1930s Korea, without any white persons appearing to save the day or infiltrating the plot. The film has received resounding praise from critics and audiences alike, proving once and for all that despite having no literal projection of themselves within the storyline, white audiences can find an all-Asian movie both entertaining and valuable. The film’s lucrative success condemns any excuses for whitewashing in order to appeal to Western audiences, which was most recently used by Chinese director Zhang Yimou in his film The Great Wall. Continue reading