A story has a beginning, a middle, and an end. Maybe that’s why the trilogy is such a satisfying structure for so many epic series or curious corners of cinema history. This year in Triple Threat, Ken Lowe revisits another of cinema’s best trilogies each month, including some unofficial trilogies that have come to define a director, actor, or time in film history.
Revenge might really be why we are the way we are. Not individually, but as a people. You can argue that preventing it, thwarting it, deterring it, is the entire impetus for why we have things like laws and a societal order—why our judicial system does not extract an eye for an eye. In a world where there is no inherent fairness or justice but what we come together collectively to create and enforce, the question of vengeance hangs over everything.
’s Vengeance Trilogy definitively and completely rejects that framing—but oh, how it tantalizes you with it, entrapping you before the big, awful reveal. Across three movies in the early ‘00s, his features, and then made them choke on it. These are beautiful movies that linger in the very ugliest places, and were ultimately one of the mightiest salvos in the new wave of Korean cinema that characterized the turn of the millennium.
After a bender that sees him released from police custody, Oh Dae-su awakens inside a locked, secluded hotel room. He is being imprisoned, and he does not know why or for how long. His only connection to the outside world is a television. Whenever he needs food, it’s dropped off through a slot in his door. Whenever he needs any kind of medical care or his room needs rearranging, he’s gassed unconscious.
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