The Handmaiden

As the camera pans across the lush Korean countryside, we find ourselves in the midst of a transformative moment for Sook-Hee (character name). The year is 1930s Korea, and with it comes a new chapter in the young woman's life. As the narrative unfolds, we're introduced to the imposing estate of Lady Hideko, a Japanese heiress whose opulent lifestyle is juxtaposed against the rustic beauty of the surrounding landscape.

With Sook-Hee's arrival at the estate, we're given a glimpse into her humble beginnings as she prepares to take on a new role as handmaiden to the enigmatic Lady Hideko. The journey from her modest home to the grand estate serves as a metaphor for Sook-Hee's own transition, one that will forever alter the trajectory of her life.

Upon her arrival, Sook-Hee is warmly greeted by a woman who ushers her through the grounds, showcasing the estate's various wonders. Amidst the tour, she's taken to an annex that has been meticulously transformed into a library, a testament to the master's (Lady Hideko's uncle) profound love for literature. As Sook-Hee is informed of her new quarters, situated near Lady Hideko's bedroom, we're given a glimpse into the intricacies of their relationship.

As night begins to fall, Sook-Hee's curiosity gets the better of her, and she attempts to peek into Lady Hideko's room. However, a sudden noise startles her back to reality, leaving her to ponder the mysteries that lie beyond her own tiny cot.

Later that night, Sook-Hee is awoken by the sound of Lady Hideko's anguished cries. Rushing to her bedside, she finds the distraught Lady Hideko, who reveals the dark secret behind her recurring nightmares: the tragic tale of her aunt's untimely demise, whose ghost is said to haunt the moonless nights under the cherry tree's branches.

In the aftermath of this unsettling revelation, Sook-Hee proves herself to be a compassionate and resourceful handmaiden. With a soothing melody and the gentle lapping of sake, she calms Lady Hideko's fears, ushering in a new era of comfort and companionship between the two women. As the moon rises high in the night sky, we're left with a sense of anticipation, knowing that Sook-Hee's life is poised to be forever changed by her experiences within the confines of this enigmatic estate.

Through a series of captivating flashbacks, we are introduced to Sook-Hee's (voiced by herself) complex past as a pickpocket raised by a cunning mentor who taught her the art of thievery and forgery. Born into a world of deception, Sook-Hee's life has been marked by schemes and stratagems from an early age. Her adoptive mother, a seasoned operative in the underworld, has honed her skills alongside numerous abandoned newborns, all with one ultimate goal: to sell these innocent souls to the highest bidder on the Japanese market.

The narrative takes a dramatic turn as a mysterious figure enters their lair, regaling them with tales of an interpreter who had managed to infiltrate the inner circles of Japan's high-ranking officials through bribery. This cunning individual went on to facilitate Japan's annexation of Korea, securing his own naturalization and ultimately marrying into the noble class. With a newfound sense of prestige, he constructed a lavish mansion, boasting an impressive library stocked with rare and valuable books.

This enigmatic collector, posing as Count Fujiwara from Japan, has devised a devious plan to marry off the niece of his late wife, a woman who has inherited a substantial fortune. His goal is twofold: to secure her vast wealth and to trap her in a madhouse after declaring her insane. He tasks Sook-Hee with serving as her loyal handmaiden, instructing her to manipulate the young heiress into falling deeply in love with him.

As if this weren't enough, Sook-Hee's uncle, equally consumed by greed, seeks to marry his niece for her fortune. In a bold move, Sook-Hee negotiates a deal: she will convince her uncle's niece to marry the Count, and in return, he will bestow upon her 50,000 gold coins, as well as an assortment of lavish dresses and jewelry. With great ambition, Sook-Hee demands a significant increase in her payment, requesting a whopping 100,000 gold coins.

As Sook-Hee (Sook-Hee) ventures onto the opulent estate, her mission is to charm the staff into hiring her. However, her initial optimism is swiftly deflated when the cunning women on staff pilfer her shoes as a mischievous prank, leaving her feeling mortified and vulnerable. Amidst this embarrassment, Sook-Hee is struck by the breathtaking beauty of Lady Hideko (), whose ethereal presence seems to radiate an otherworldly aura. In a bold move, Sook-Hee presents Lady Hideko with a reference letter from her previous employer, only to reveal that it's actually a forgery crafted by the duplicitous Count Fujiwara (not specified), masquerading as a nobleman. The letter, penned in Japanese script, remains indecipherable to Sook-Hee, who had been led to believe its contents. As Lady Hideko struggles with a headache brought on by her uncle's demanding reading regimen, she implores Sook-Hee to decipher the mysterious letter, only for Sook-Hee to fumble through a botched recitation, admitting eventually that she's illiterate in both Korean and Japanese.

Lady Hideko's stern rebuke serves as a wake-up call, emphasizing her disdain for deceit. As Sook-Hee tries to curry favor with Lady Hideko, she's met with an unexpected display of vulnerability when the latter reveals a cherished photograph of her mother. Sook-Hee seizes this opportunity to insinuate herself by casually remarking that Count Fujiwara has confessed to harboring a fascination for Lady Hideko's visage - a calculated move aimed at fostering a connection.

With Lady Hideko departing for solitary reading practice, Sook-Hee is left to explore the estate's lavish quarters. Her prying fingers stumble upon an assortment of dresses, which she examines with calculating intent, contemplating the spoils that will be hers once Lady Hideko is confined. A chance discovery of Ben Wa balls serves as a poignant reminder of the woman's supposed fate. As Sook-Hee dons various hats in a vain attempt to assert her identity, she stumbles upon a hatbox containing a noose - a chilling harbinger of the dark secrets surrounding Lady Hideko's family.

As night begins to fall, Sook-Hee finds herself locked out of the library where Lady Hideko and her uncle are engrossed in a reading session. The imposing presence of a snake statue serves as a tangible boundary, separating Sook-Hee from the coveted world within.

As the gentle lapping of water against the porcelain tub subsides, Sook-Hee tenders her ministrations to Lady Hideko, anointing her with a sweet serenade in the form of a lollipop. This innocent indulgence is designed to associate the bath time ritual with the saccharine delight, a technique she's found effective in soothing the savage breast of childhood. As Lady Hideko's concerns regarding a sharp tooth are addressed by Sook-Hee's deft touch with a thimble, an undercurrent of sensual tension begins to simmer between the two women, culminating in a momentary appreciation of Lady Hideko's unadorned beauty.

Meanwhile, Count Fujiwara arrives at the estate, his presence precipitating a flurry of activity as he seeks to enlist Lady Hideko's handmaiden, Sook-Hee, in his scheme. The two conspirators steal away for a private colloquy, during which Sook-Hee confides in the Count that her mistress is naively oblivious to his advances, even when he resorts to more...persuasive measures. Undeterred, the Count instructs Sook-Hee to subtly implant the idea in Lady Hideko's mind that her newfound happiness is directly attributable to his presence.

As a token of their collaboration, the Count presents Sook-Hee with a gift - exquisite sapphire earrings that she can't wait to claim as her own once Lady Hideko is whisked away to the madhouse. In a clever ruse, Sook-Hee convinces Lady Hideko that these supposed spinels are, in fact, the genuine article. This subterfuge serves only to heighten the sense of intimacy between the two women, as they engage in a ritualized dressing process that is at once innocent and illicit.

Their buttoned-up attire complete, Sook-Hee and Lady Hideko exchange a look that speaks volumes about their complicated dynamic. As they discuss Lady Hideko's prospective marriage to her uncle, it becomes clear that this union is less a romantic entanglement than a calculated means for him to secure access to his niece's vast fortune. The Count, meanwhile, indulges in a painting session with Lady Hideko, his flirtations transparent and Sook-Hee's sympathies firmly aligned with the object of her affections.

As the Count departs, he leaves behind a telling phrase - "a peach is ripe" - which serves as a cue for Sook-Hee to begin spinning a tale of Lady Hideko's growing infatuation with their interloper. Though Lady Hideko may not be entirely convinced by this fabrication, Sook-Hee's words serve only to further entwine the two women in a delicate dance of manipulation and desire.

As Lady Hideko and Sook-Hee stroll through the serene grounds, their conversation flows effortlessly, delving into the painful past that has shaped Lady Hideko's life. The revelation of her mother's untimely passing in childbirth, as if she had exacted a cruel punishment for being born, leaves a profound impact on Sook-Hee. With empathetic insight, Sook-Hee gently reminds Lady Hideko that no child is guilty of being born, and that her mother would likely have cherished the gift of life she gave. This poignant exchange stirs something within Lady Hideko, whose countenance softens in response.

However, their tender moment is abruptly disrupted by the arrival of the calculating Count, who whisks Lady Hideko away, leaving Sook-Hee to attend to his bidding. Not wanting to abandon her lady, Sook-Hee hastily gathers items, only to return and behold a scene that fills her with a seething jealousy: the clothed Lady mounting the clothed Count.

This unsettling encounter sets the stage for Sook-Hee's simmering resentment towards Lady Hideko. Later that night, the servant's bell rings out, summoning Sook-Hee to the Lady's chambers. When asked about her absence upon their return from reading, Sook-Hee feigns exhaustion, but the Lady detects a deeper unease.

As the evening wears on, the Lady confides in Sook-Hee that the Count has proposed an elopement when her uncle departs for his gold mine. Feeling lost without maternal guidance, Lady Hideko yearns to understand what men desire. Sook-Hee, with a gentle yet assertive manner, initiates a tender kiss, then proceeds to instruct Lady Hideko in the art of love-making, using herself as a demonstration subject.

As their bodies entwine under the guise of preparing Lady Hideko for her prospective union with the Count, it becomes increasingly evident that both women are surrendering to an all-consuming passion. Despite their claims of merely providing instruction, their actions betray a profound affection for one another, leaving their desires and intentions forever intertwined.

As Lady Hideko and the Count (played by) engage in a leisurely painting session with Sook-Hee, the Count orders his loyal servant to attend to other matters, dismissing her from their creative endeavors. However, Sook-Hee refuses to abandon her post, insisting that her sole responsibility is to cater to Lady Hideko's every need. The Count's ire is piqued by this display of devotion and summons Sook-Hee outside the estate grounds, where he berates her for not being more forthcoming in helping him with his clandestine plans. As their conversation turns increasingly heated, the Count takes it upon himself to physically illustrate his desperation, grasping Sook-Hee's hands and using them to fondle a specific region of his anatomy. He warns her that she would do well to remember the magnitude of his desire for Lady Hideko's fortune and threatens to reveal a long-held secret about Sook-Hee's past if she does not comply.

Sook-Hee, unwilling to be intimidated or betrayed, stands firm in her determination to protect Lady Hideko from the Count's machinations. She reminds him that Lady Hideko is an emotionally isolated individual who, were she to feel threatened, would withdraw into herself like a shell, making it impossible for anyone to reach her. Sook-Hee further emphasizes this point by sternly cautioning the Count against ever again laying hands on his privates.

With Sook-Hee's acquiescence, Lady Hideko reveals that she has fallen in love with someone else, but agrees to marry the Count if he can secure a spot for her loyal companion on their journey. The Count feigns departure from the estate, only to secretly linger and make his escape with Lady Hideko as soon as her uncle's attention is diverted. As they set sail for Japan, Sook-Hee finds herself bound to this unlikely couple.

Upon arrival in Japan, the Count and Lady Hideko are formally married. The next morning, Sook-Hee discovers telltale signs of a night spent consummating their union on Lady Hideko's bed sheets. As the Count watches with an air of voyeuristic fascination, Sook-Hee takes this opportunity to steal a kiss from her mistress, a gesture that speaks volumes about the complex dynamics at play within this peculiar love triangle.

As the curtain closes on Count Fujiwara's departure, Sook-Hee seethes with indignation, berating him for his abrupt abandonment and demanding that he hasten the process of institutionalizing Hideko. Two uninvited guests arrive at the hotel, inquiring about a treatment plan for the enigmatic Countess. Sook-Hee's response is telling: she yearns for a sanctuary where Hideko can be safely contained, her own harmlessness ensured. This unlikely trio embarks on a journey to town, with a pit stop at a psychiatric facility. As they confer with the hospital staff, Sook-Hee finds herself unwittingly whisked away, protesting vociferously as she's dragged into the very institution she sought to protect Hideko from. The Count and Lady Hideko remain curiously inactive in her defense, their apathy towards Sook-Hee's plight a stark contrast to the tumult she's experiencing.

As the narrative shifts gears, the backstory of Lady Hideko begins to unfold. In a series of haunting vignettes, we see the tender years of this troubled soul. A young Hideko is subjected to a litany of physical and emotional abuse at the hands of her aunt, who insists on drilling obscure vocabulary into her reluctant pupil. The words "penis" and "vagina" are among those imparted, alongside more disturbing revelations about the dark corners of human sexuality. Her uncle, a figure both suffocatingly intense and eerily calm, compounds her distress by instructing her in the art of reading from his own curated collection of graphic novels and explicit literature. As Hideko's aunt whispers words of warning into her ear – namely, that an ogre lurks just beyond her door, poised to smother her should she dare to cry out – it becomes clear that these early years have instilled in Lady Hideko a deep-seated sense of vulnerability and fear. The adult Lady Hideko, now a fixture at high-society soirees, reads from passages of explicit literature with all the finesse of a practiced connoisseur, her eyes gleaming with an unsettling intensity.

As the veil of memories lifts, Lady Hideko is transported back to the fateful day her aunt met a gruesome end at the hands of the estate's sinister servants. Meanwhile, the somber atmosphere is punctuated by the unsettling readings from Japanese book collectors, whose stories become increasingly graphic and disturbing. To make matters more macabre, she performs demonstrations of the material for the audience, reenacting scenes of self-mortification, brutal whipping, and eerily lifelike puppetry that defies explanation. As the auction commences, a rare tome loses its value due to the removal of an explicit illustration, underscoring the notion that some truths are too taboo to be told without visual accompaniment.

Against this backdrop of darkness and despair, a man masquerading as Count Fujiwara inserts himself into the proceedings, hired for his expertise in forgery. He confides in Lady Hideko's uncle about the estate's women, who are inexplicably drawn to him, except for one – the intelligent and resourceful Lady Hideko herself. He advises her uncle to ease up on "training" lest she become emotionally numb, a warning that takes on ominous undertones.

As Count Fujiwara and Lady Hideko share dinner, he attempts to feign romantic interest, only to be rebuffed by her astute awareness of his deception. He reveals his true identity as the son of a Korean farmhand, who spent three arduous years honing his skills in forgery to gain access to her father's inheritance and possess her. However, upon meeting Lady Hideko, he becomes impressed by her intellect and proposes an alternative deal: he'll rescue her from her uncle's clutches, and they'll split the spoils. But Lady Hideko remains resolute in her refusal to marry anyone.

As Count Fujiwara realizes she intends to take her own life, he attempts to dissuade her, citing the perverted uncle who would inherit her fortune upon her demise. She counters by pointing out that elopement would only lead to capture and imprisonment in the very basement where her uncle tortures victims – a place she's all too familiar with, having been brought there as a young girl to witness his cruel treatment of her aunt. In a chilling display of manipulation, Count Fujiwara presents her with highly concentrated opium, warning that three drops would induce sleep, five drops would render her unconscious, and the full dose would be fatal.

As a devious plot unfolds, Hideko's advisors concoct a sinister plan to replace her loyal handmaiden with a new servant, Sook-Hee, who will be dispatched to a madhouse under Hideko's name. The old handmaiden is promptly dismissed after being caught in a compromising position with the Count Fujiwara (played by), leaving a power vacuum that the scheming duo seeks to exploit. Meanwhile, from Hideko's vantage point, we witness Sook-Hee's arrival as a series of eerie and intimate moments unfold.

As Sook-Hee attempts to peek into Hideko's chambers, she is startled by the Countess's sudden outburst, which is merely a ruse to lure her in. Hideko then watches with calculating eyes as Sook-Hee undresses for bed, her gaze a testament to the calculated manipulation at play. The next day, Hideko feigns a nightmare, summoning Sook-Hee into her room and then, under the guise of reading a letter from Count Fujiwara, she actually has Sook-Hee read aloud a recommendation written in a language she cannot decipher herself - a clever ploy to further deceive her new handmaiden.

Hideko's machinations extend to her treatment of her servants, who are scolded for pilfering Sook-Hee's shoe, with the threat that they will be dismissed if their new mistress decides to flee. This power play is merely a precursor to the flashback sequence, where we see Sook-Hee performing menial tasks for Hideko, including bathing her and fixing her tooth - all under the guise of friendly assistance, but in reality, a calculated move to gain her trust.

As Sook-Hee presents Hideko with a pair of earrings, Count Fujiwara's letter reveals his plan to keep Sook-Hee occupied by having her try to convince Hideko to marry him, thereby distracting her from the true nature of the earrings - which belong to Hideko herself. As before, Hideko is enamored by Sook-Hee's kindness and beauty when she is dressed in finery, but it is Sook-Hee's genuine concern for Hideko's emotional well-being that ultimately fosters a sense of companionship between the two.

Despite their mutual disdain for each other, Count Fujiwara and Hideko maintain a fragile alliance, driven by their shared desire to manipulate Sook-Hee. As the new handmaiden becomes increasingly aware of their scheme, she begins to feel a deep-seated jealousy towards Hideko's flirtatious exchange with the Count, which only serves to further entrench the trio in their toxic web of deceit and manipulation.

As Lady Hideko's (character) intimate gatherings with Japanese men unfold, she regales them with readings from explicit literature, including passages on Ben Wa balls. The audience applauds, while the atmosphere remains heavy with subtle tension. This juxtaposition sets the stage for a pivotal moment: the extended and more graphic sexual encounter between Hideko and Sook-Hee (character), masquerading as an educational exercise to instruct Hideko on pleasing a man.

The scene cuts to Count Fujiwara's scathing rebuke of Lady Hideko, warning her that if she frightens Sook-Hee, the young woman will retreat like a shellfish. This stern admonition pierces Hideko's conscience, as she reflects on her decision to arrange for Sook-Hee's confinement in an asylum. The Count's harsh words are rooted in his earlier assertion that Sook-Hee had dismissed Lady Hideko as dense, incapable of recognizing another's desires even when they're explicitly communicated.

Though this statement was initially made by Sook-Hee during a moment of hesitation and calculated manipulation, it still stings Hideko deeply. Her doubts about Sook-Hee's true feelings for her have been sown, and she becomes increasingly convinced that Sook-Hee never genuinely connected with her. In her chambers, Hideko confronts Sook-Hee, questioning whether their planned union would be worth pursuing even if she (Hideko) develops feelings for someone else.

Sook-Hee's affirmative response only enrages Lady Hideko, who lashes out at Sook-Hee and forcibly ejects her from the room. In a despairing act of self-destruction, Hideko seizes the rope discovered by Sook-Hee earlier in the hatbox and ascends to the tree where her aunt had taken her own life. As she prepares to hang herself, she laments being born at all.

Just as Lady Hideko is about to meet her demise, Sook-Hee appears, grasping Hideko's legs from below. With a mixture of surprise and urgency, Sookie confesses the truth: her plan was to deceive Lady Hideko into marrying Count Fujiwara, with the intention of sending her to an asylum once the union was secured.

Hideko demands to know if Sook-Hee is concerned for her well-being, only to be met with a query about how she knows Sookie's true identity since she had been posing as a handmaiden named Tamako. Hideko's revelation that she had planned to send Sook-Hee to the asylum sets off a chain reaction, ultimately leading Sook-Hee to reestablish contact with her mentor and confidant, who had taught her the art of thievery.

With this newfound information, Sook-Hee writes to her mentor, alerting them to a change in plans and requesting their assistance in forging documents. As the narrative unfolds, the lines between reality and deception blur, casting a shadow over the complex web of relationships and motivations that have been expertly woven throughout the story.

As Hideko's uncle departs to tend to his lucrative gold mines, he issues a chilling warning to Lady Hideko: betray him and suffer the same brutal torture he has inflicted on her family members. With his absence, Sook-Hee seizes the opportunity to explore the confines of the mansion, where she discovers Uncle's perverted collection of sexual literature. Her indignation over Hideko's forced exposure to such depravity boils over as she tears out pages and illustrations, ultimately dumping them into the hidden ponds beneath the floorboards.

As the two women prepare for Hideko's planned elopement, a carefree atmosphere prevails, with visions of laughter and freedom dancing in their minds. However, this fleeting sense of liberation is cruelly extinguished when Sook-Hee finds herself institutionalized, her fate sealed by the treachery of those around her. Unfazed by this turn of events, Hideko appears to be entirely unaffected, her hunger a stark reminder of the harsh reality that awaits.

As "Part Three" unfolds, Hideko and Count Fujiwara enjoy a sophisticated dinner at an upscale restaurant, their sinister plan having reached fruition. Meanwhile, Sook-Hee's mind unravels within the walls of the mental hospital, her laughter a haunting echo of the freedom she once knew. The Count reveals his intention to replace Sook-Hee's identity with Hideko's, allowing them to claim her inheritance without detection by her uncle. His confession that he may have developed feelings for Hideko is tempered by his callous dismissal of Sook-Hee's plight, implying that she is naive and deserving of her fate.

In a shocking turn of events, a fire breaks out in the mental institution, allowing Sook-Hee to make her escape. Back at a hotel, Hideko cleverly manipulates the opium-laced wine given to her by the Count, using it to her advantage as she plots her revenge. Her plan involves luring him into a false sense of security, and then exploiting his aggression towards her. However, just as things seem to be spiraling out of control for Hideko, the Count succumbs to the effects of the opium, rendering him powerless and vulnerable.

As the Count regains consciousness, he finds himself being escorted by two thugs into the heart of town, leaving him at the mercy of those who seek to exact revenge upon him. The stage is set for a thrilling confrontation between Hideko, now empowered with Sook-Hee's identity, and those who have wronged her in the past.

As Sook-Hee (character) and Hideko's bond has been rekindled, a masterful ruse unfolds. With her exceptional forgery skills, Sook-Hee swaps her own photograph with one of herself disguised as a man, seamlessly assuming the identity of Count Fujiwara. Meanwhile, Hideko pens a letter to her uncle, revealing the shocking truth that the esteemed Japanese count is, in reality, the son of a Korean farmhand. As a "gift" to her uncle, she dispatches the imposter to his doorstep, accompanied by a stern warning: outside the realm of literature, no woman should be taken against their will.

The uncle's response is one of unbridled fury, as he subjects the Count to a gruesome display of torture, brutally mutilating his fingers with a paper trimmer. As the victim begs for a cigarette to aid his memory, Hideko's uncle gleefully obliges, unaware that the Count has cleverly filled the cigarettes with mercury.

As the two women make their way to the train station, they employ cunning tactics to evade detection by the uncle's henchmen. Disguised as men, they purchase a ticket to a nearby city before astutely altering it to Shanghai, absorbing the additional cost. Their ruse remains undetected, allowing them to continue their escape.

A poignant flashback reveals that Hideko was never actually deflowered by Count Fujiwara, but rather took matters into her own hands by intentionally damaging her hymen with a butter knife. The resulting bloodstain, witnessed by Sook-Hee the next morning, serves as a painful reminder of Hideko's traumatic experience.

In the present, Hideko's uncle exposes his own perverse fascination with his niece, bombarding her with graphic questions regarding her wedding night, including the most intimate details. His true nature is finally laid bare, revealing an old man consumed by an insatiable appetite for dirty stories. The Count, however, remains stoic and unresponsive to the uncle's probing.

As the two women board the ferry bound for Shanghai, Sook-Hee sheds her masculine disguise, having safely escaped the constraints of their oppressive environment. In a cruel twist, Hideko's uncle exacts a gruesome revenge on the tortured Count, severing his underwear as he lies helpless and bleeding. The Count's dire warning about the mercury-filled cigarettes proves prophetic, as the uncle succumbs to the toxic effects and meets his demise.

In a desperate bid to end his own life, the Count inhales deeply, attempting to poison himself with the same deadly substance that has claimed his tormentor.

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