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He’d plan you the fairytale affair you’ve been dreaming of your entire life.

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— (1) Should there be any conflict among the orthodox (Sunni) Muslim schools of law (Madhahib), that which is in consonance with the Constitution of the Philippines, this Code, public order, public policy and public interest shall be given effect. — Juridical capacity, which is the fitness to be the subject of legal relations, is inherent in every natural person and is lost only through death. The consequences of these circumstances are governed by this Code and other Islamic laws and, in a suppletory manner, by other laws.

— The following circumstances, among others, modify or limit capacity to act: age, insanity, imbecility, the state of being deaf-mute, the condition of death-illness (marad-ul-maut), penalty, prodigality, absence, family relations, alienage, insolvency, and trusteeship.

Like the old-school, Sturm-und-Drang, waves-breaking-onto-the-jagged-rocks Romantics with a capital R, he understands the beauty in cruelty and the aesthetic power of emotion—his breathtaking cinematography enhances, rather than, offsets, the brutality.

You have to be a sadomasochist on some level to fully enjoy a Park Chan-Wook film--the ending of a run for their fucked up money.

Chan threatened to publicize their sexual relationship with a videotape if X did not deposit HK million into a bank account.

If revenge was taken as seriously as weddings, Park Chan-wook would be the richest man in the business.

He’s strayed from revenge as a genre since then — flirting with romantic comedy (a battery-licking anorexic who thinks she’s a cyborg falls in love at a mental hospital with a schizophrenic who believes he can steal souls), vampire horror (a Catholic priest and an emotionally abused housewife pull a but with more theological angst), and Hollywood coming-of-age (creepy schoolgirl and her creepy uncle get even creepier.) But revenge lurks thematically in the background (“If you do that, everything in the world becomes a revenge story,” he complained to a journalist who interpreted the romantic comedy as revenge turned inward.) But his latest film, ¸ it’s an erotic thriller told Rashomon-style about a conwoman who infiltrates the household of an heiress in Japanese-occupied Victorian-era Korea.

It’s also possibly the Park Chan-wookiest of all Park Chan-wook films, containing hyperstylized ultraviolence, eviscerating twists, tar-black humor, illuminating sex scenes, and yes, even an octopus.

All the files inside the folders are impossible to extract.

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In honour of the Palme D’Or nominated But Park is playing the long-con; in the larger scheme of things, humour is merely one of many tactics he uses to manipulate our emotions.