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As the serpentine narrative spirals back and forth upon itself, we witness the same events from multiple perspectives, each one more revealing than the last. In Waterss novel ( adapted as a BBC mini-series in 2005 ), an accomplished pickpocket is plucked from a Dickensian den to work in an upmarket home where she plays a key role in a scheme to separate a young heiress from her fortune. Park transfers the story from Victorian England to 1930s Korea under Japanese colonial rule. Here, Sook-hee (Kim Tae-ri) is enlisted by elegant conman Count Fujiwara (Ha Jung-woo) to serve at the home of Japanese heiress Lady Hideko (Kim Min-hee). Ridiculous male spectators are left frantically fanning their red faces and squirming awkwardly in their seats Variously named Tamako and Okju, the mercurial Sook-hee must ensure that the naive Hideko falls in love with Fujiwara, enabling him to elope with her before swiftly committing the poor innocent to an asylum. His partner in crime will share the spoils, robbing Hidekos Uncle Kouzuki of the handsome fortune he planned to inherit. Yet few of these characters are entirely what they seem, with role-playing, recitation, and unexpected reversals lurking at every corner, leaving us wondering just who exactly is naive, and a bit foolish. The house in which this labyrinthine psychodrama plays out is a strange and mysterious hybrid, part western gothic mansion (there are shades of both The Haunting and Rebecca in its shadowy facade), part palatial Japanese residence. Within its lavishly sinister corridors we find rooms within rooms, spaces between the public and the private, the liminal and the subliminal. In one corridor, a symbolic snake stands guard, pointedly marking the bounds of knowledge. Down in the basement, something tentacular writhes, pulsating to the perverse rhythms of a library of Sadean pornographic writings.

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