The Handmaiden (2016)

Last updated:
May 30, 2025

Park Chan-wook’s The Handmaiden (original title: Ah-ga-ssi) is a sensuous, complex, and meticulously crafted psychological thriller that masterfully blends mystery, eroticism, and social commentary. Loosely adapted from Sarah Waters’ novel Fingersmith, but transplanted to 1930s Korea under Japanese colonial rule, the film is known for its layered storytelling, stunning cinematography, and thematic boldness.

Table of Contents

Detailed Summary

Part One: A Scheme in Motion

The story begins with Sook-hee, a young Korean pickpocket raised in a den of thieves, being recruited by a conman who calls himself “Count Fujiwara.” His plan is to seduce and marry a wealthy Japanese heiress named Lady Hideko, institutionalize her, and steal her fortune. Sook-hee is sent to Hideko’s estate as a handmaiden to help push this con along.

But as Sook-hee serves Hideko, she unexpectedly develops feelings for her. Their relationship becomes complicated, and deeply intimate. Sook-hee finds herself torn between her loyalty to the Count and her love for Hideko.

Part Two: Flip the Script

This is where the film’s brilliance takes flight—literally rewinding and retelling the story from Hideko’s perspective. We learn that Hideko is not as naive as she seemed. Raised by her twisted Uncle Kouzuki, a collector of rare pornography, she has been trained since childhood to read erotic books aloud for aristocratic audiences.

Hideko, trapped in her gilded cage, was also conspiring with Count Fujiwara. She knew about the plot to marry her and have her committed—but planned to double-cross him. Yet when Sook-hee’s genuine affection emerges, Hideko starts questioning her own plan.

Part Three: Freedom and Fire

After a dramatic wedding and institutional betrayal (with Sook-hee being taken to the asylum instead of Hideko), the tables turn again. Hideko rescues Sook-hee with the help of the pickpocket family. The two women flee from the estate, deceiving Count Fujiwara and leaving him to suffer the consequences of his ambition.

Meanwhile, the Count and Kouzuki face off in a dark showdown of their own. The Count tricks Kouzuki into inhaling poison gas with him. Their deaths are brutal, poetic, and strangely elegant in their own twisted way.

Movie Ending

In the final act, Sook-hee and Hideko escape aboard a ship. Having destroyed the men who sought to control them, they find a quiet cabin and each other. The film ends with a tender, sensual scene between them, echoing earlier moments of their connection—but now, finally, they are free.

There is no ambiguity: they have escaped not just physically, but emotionally and sexually from their oppressors. It’s a complete and cathartic ending—a rare conclusion in a film of this kind that grants its heroines both agency and joy.

Are There Post-Credits Scenes?

No, The Handmaiden does not include a post-credits scene. Once the credits roll, the story is over. But given the dense narrative, you might find yourself watching it again just to catch everything you missed.

Type of Movie

The Handmaiden is a psychological thriller with elements of romantic drama, erotic mystery, and historical fiction. It’s as much a love story as it is a study in manipulation and liberation.

Cast

Kim Tae-ri as Sook-hee
Kim Min-hee as Lady Hideko
Ha Jung-woo as Count Fujiwara
Cho Jin-woong as Uncle Kouzuki

Film Music and Composer

The haunting and lyrical score was composed by Jo Yeong-wook, a frequent collaborator of Park Chan-wook. The music blends classical and minimalist styles to reflect both the period setting and the emotional depth of the story.

Filming Locations

Anseong, South Korea – The main mansion (Uncle Kouzuki’s estate) was built specifically for the film. It’s an architectural fusion of English and Japanese design, symbolizing the collision of cultures in colonial Korea.
Gyeonggi Province – Many outdoor scenes were shot here, including forests and the countryside where the protagonists flee.

The locations are crucial in representing confinement versus liberation—every room, stairway, and garden path is meticulously designed to mirror the psychological dynamics of the characters.

Awards and Nominations

BAFTA Award for Best Film Not in the English Language (Nominated)
Cannes Film Festival: In competition for the Palme d’Or
Blue Dragon Film Awards: Best Director (Park Chan-wook), Best Actress (Kim Min-hee)
Asian Film Awards: Best Supporting Actress, Best Production Design
Los Angeles Film Critics Association: Best Foreign Language Film (Winner)

Behind the Scenes Insights

The film is split into three parts, each from a different perspective—a structural choice that required meticulous planning in editing and acting continuity.
Park Chan-wook instructed the two lead actresses to focus on emotional realism during intimate scenes, often closing the set to ensure comfort.
The novel Fingersmith was originally set in Victorian England. Park transposed it to colonial Korea, giving the story a whole new political and cultural dimension.
Kim Tae-ri had never acted in a film before; she was cast after an audition that beat out nearly 1,500 other candidates.
The erotic scenes were choreographed like dance sequences, prioritizing narrative over titillation.

Inspirations and References

Based on Sarah Waters’ 2002 novel Fingersmith, with significant changes in setting, culture, and certain plot details.
Park Chan-wook cited classic Hitchcock films and Korean literature of the 1930s as inspirations.
The film critiques colonialism, patriarchy, and fetishism—infusing themes of gender and power with a feminist lens.

Alternate Endings and Deleted Scenes

No alternate endings have been confirmed by Park, but early drafts of the script had a bleaker ending where one of the women dies.
Several scenes featuring Uncle Kouzuki’s private erotic collection were trimmed down to avoid over-explicitness.

Book Adaptations and Differences

In Fingersmith, the setting is 1860s England. The character arcs and betrayals are similar, but the cultural stakes differ.
The book’s Sue (Sook-hee) and Maud (Hideko) are much more psychologically restrained. The film’s characters have more sensual expressiveness.
Park’s version adds political layers (Korea under Japanese rule) and ramps up the visual and erotic language.

Memorable Scenes and Quotes

Key Scenes

Sook-hee dressing Hideko for the first time—erotic tension meets quiet rebellion.
The wedding and subsequent betrayal at the asylum.
Hideko’s attempt at suicide, saved by Sook-hee’s intervention.
The final intimate escape scene aboard the ship.

Iconic Quotes

“Even if you are a fake… my feelings were real.”
“What does it matter if I’m a thief? The world is full of thieves.”
“You’re beautiful. But even if you weren’t, I’d still love you.”

Easter Eggs and Hidden Details

The bells used in sex scenes mirror traditional Korean funeral bells—subtly critiquing the death of female agency in those moments.
Hideko’s readings echo real Japanese erotic literature of the era.
Kouzuki’s library contains books modeled after notorious banned publications.

Trivia

The film was South Korea’s official submission for Best Foreign Language Film at the Oscars but didn’t make the shortlist.
The erotic scenes were shot with a 10-person crew only—unusual for major productions.
Despite its content, Park insisted the film is “a love story first.”

Why Watch?

Because it’s a rare blend of emotional depth and visual poetry, layered with tension, love, betrayal, and ultimate liberation. If you enjoy movies that play with narrative structure and blur the line between love and deception, this is essential viewing.

The Handmaiden (2016)