Abstract
Director Park Chan-wook has secured unparalleled oeuvres comprising stylish and provocative films. His shocking narratives and florid mise-en-scene represent a chaotic world. Notably, shuttling between anxiety and rapture, Park’s films converge on a pessimistic view of the mankind and the world. Ranging from his debut film to his latest one, most of his pieces have stuck to a mood of pessimism that the world is replete with agonies. With the agonies haunting people, they fall victim to those agonies or inflict them on the world. The rule of causationism fails to apply to the world whilst even the God will not demonstrate any willingness to redeem the mankind. Thus, Park’s films have formulated a pseudo-message that all men are destined to undergo tragedies given to them. Against the backdrop of the pessimistic world view, Park’s characters are transformed into monsters dashing into an irreversible and unredeemable state of misery. There is no denying that the pessimistic attributes characterizing Park’s films summon up some primordial skepticism and extreme despair about the mankind and the world. Nevertheless, Park’s films also carry a paradoxical message that ‘one should turn over a new leaf even in the face of hopelessness,’ leading the audience to a paradoxical position, where they ruminate over the humans and the world via extreme tragedies.
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