There are a lot of people who watched this film simply because it’s by the iconic, cult favourite, South Korean director/auteur – Chan-wook Park. Chan-wook, who also co-wrote the screenplay with Seo-Gyeong Jeon which is based on the book Thérèse Raquin by Émile Zola, has not disappointed us with his version of a vampire tale.
This is completely unlike any of his ‘trilogy’ films. Of course each of the trilogy films were very different from each other. They all had a “similar” theme, but, visually they were very unalike. Park has, with Thirst, gone completely outside his comfort zone and brought us a masterpiece in the guise of Grand Guignol Theatre.
Starring Kang-ho Song and Ok-bin Kim, Thirst is a love story, horror film, thriller, comedy and a tragedy. I never realised that it was possible to cram so many genres into a single film and more importantly still be able to pull it off. Chan-wook Park has not only managed to pull it off, but he has also, once again, made a film that really is genre-less.
Kang-ho Song plays Father Sang-hyun. He volunteers at a local hospital. He ministers the sick and dying patients, and he provides absolution when they die. He also takes confessions from the staff. But this job is taking a toll on his mental well being. He suffers secretly from depression and doubt about his profession.
He volunteers to become part of an ongoing medical experiment. A medical team is battling to find a cure for a virus known as the Emmanuel Virus (EV). It affects only Caucasian and Asian men and it is almost always fatal. Sang-hyun allows himself to be injected with an experimental vaccine. When he starts to ‘bleed-out’ he receives a blood transfusion that turns him into a vampire.
He checks himself out of the experimental facility to find that he has been transformed in the public’s eyes as a ‘healer.’
He bumps into a childhood friend and gets an invite to join their Wednesday night mah-jong game. When he attends he gets re-acquainted with his friend’s adopted sister, who is now his wife. It turns out that all three spent a good part of their childhood together. The sister/wife, Tae-ju (Ok-bin Kim) is drawn to Sang-hyun, just like she was drawn to him when they were children.
And so begins their ‘forbidden’ love affair. An affair that will escalate to murder and an almost complete surrender to their passion. It is the first mainstream South Korean film to feature full-frontal adult male nudity, although not the first commercial film to do so. Made on a budget of five million dollars it can boast a gross revenue of well over thirteen million dollars.
I was completely engrossed in the film from the very first frame. I had no idea where the film was going and at no point could I second guess how it would end.
I suppose that is could be classed as an erotic thriller set in a fantasy. But as I said before I believe it cannot be put in any genre and that is what we have come to expect from Chan-wook Park.
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