2012 Cannes Marathon: Thirst (2009 film)

(Co-Winner of the Jury Prize at the 2009 Cannes Film Festival)

Directed by Chan-wook Park and written by Park and Seo-Kyeong Jeong, Bakwji (Thirst) is the story of a priest who turns into a vampire after a failed medical experiment where he falls for a woman who lives with a cruel family. Inspired by Emile Zola’s novel Therese Raquin, the film marks a shift towards the horror genre for the Korean filmmaker who takes on a different spin for the vampire film genre. Starring Song Kang-ho, Kim Ok-bin, and Shin Ha-kyun. Bakwji is a visually-spectacular and extremely fun vampire film from Chan-wook Park.

After experiencing doubt working as a volunteer at a hospital, Father Sang-hyun (Song Kang-ho) decides to volunteer for a program to find a vaccine for a mysterious virus in Africa known as the Emmanuel Virus (EV). Taking a risk for a blood transfusion, Sang-hyun nearly dies but manages to survive despite having leprosy blisters in his skin. Returning home as an idol for someone who can bring in miracles, he is asked to help an old childhood friend named Kang-woo (Shin Ha-kyun) who is suffering from cancer. Kang-woo manages to recover though he remains ill as Kang-woo’s mother Lady Ra (Kim hae-sook) invites him for dinner and to play mahjong where Sang-hyun finds himself attracted to Kang-woo’s wife Tae-ju (Kim Ok-bin). Suddenly feeling ill at his home, Sang-hyun realizes his illness has returned where he wakes up the next day learning that he’s now a vampire.

Not wanting to kill someone, Sang-hyun decides to drink the blood of comatose patients so he wouldn’t have to deal with blisters and to deal with his thirst. Yet, he finds himself attracted to Tae-ju who is dealing with the cruelty of her mother-in-law and the demands of her ill husband where she and Sang-hyun have an affair. Still, Sang-hyun remains conflicted as he turns to his blind mentor (Choi Jong-ryeol) for answers as his mentor becomes interested in Sang-hyun’s blood to be able to see. After revealing to Tae-ju on who he is, he gives up his role as a priest to live with Kang-woo and the family to be close to Tae-ju as he notices the bruises on Tae-ju’s legs.

Tae-ju makes claims that Kang-woo abuses her where the two plot to kill him where the results would create moral complications for Sang-hyun. After the decision to make Tae-ju into a vampire, Sang-hyun gets more than he bargains for as he also to deals with the shell-shocked Lady Ra and her friends. Notably as Tae-ju starts to enjoy her new life forcing Sang-hyun to make another drastic decision about their fate.

The film is essentially a vampire love story where a confused priest falls takes part in an experiment where he becomes a vampire while falling for a woman who feels trapped in her dreary family life. If one was to take a premise like this, it would’ve been more about the idea of vampires with a lot of emphasis on sentimental love. Well, that is not one of those films as it’s a Chan-wook Park film where there’s no stupid teenage girl who is in love with a vampire and a werewolf. Nor is it some story about a fairy who is in love with two vampires. What Park and co-writer Seo-Kyeong Jeong create is a film where it’s about a man confused by his role to do good as he falls for this troubled woman as he hopes to save her. Instead, things become more complicated as he goes into conflict about the idea of killing people as if taking blood from them was bad enough. Yet, he also has to deal with own role as a man of faith and morality when his lover has become a vampire with none of those attributes.

It’s a story that explores the fallacy of being a vampire told from a man of God who tries to live the life of men but with vampire powers. The love story that Park and Jeong creates is one of passion as Tae-ju is a woman that just wants to escape from her dreary life though she still remains attached to her family for saving her from being an orphan. Yet, they don’t treat her very well as the son is kind of demanding man-child and her mother-in-law is this extremely critical woman who is more concerned about her son than her daughter-in-law. Since Tae-ju is the only person he seems to connect with, it would cause the kind of moral confusions in Sang-hyun. The decision he would make for Tae-ju in her desire to become a vampire is one that he does that would have awful implications for his desire to control things.

Park’s direction in the film is truly in tune with the visual style that’s created in the films he’s made in the 2000s as there’s a newfound maturity to the way he can create humor and romance. A lot of the humor Park creates is presented with more simplicity but also with an offbeat rhythm as he’s not afraid to a scene involving blood seem creepy. There’s gore in some of these violent scenes and vampire buts it’s not overt as Park is more interested in how Sang-hyun wants to take blood and later on, Tae-ju who takes things to certain extremes. The violence does intensify a bit in the third act once Tae-ju becomes a vampire yet it plays to the quirky humor that Park wants. Then there’s the romance where Park really finds a balance in creating a story that involves vampire myths, morality, and dark humor. Notably in the way Park decides to frame Sang-hyun and Tae-ju during a meeting when Tae-ju is having a run late at night barefoot while Sang-hyun is already trying to come to terms with this new role.

It’s all about how they would interact physically at first as he notices the bits of blisters on her feet. It’s a very understated scene that shows Park really just trying to understand these characters as they would eventually become attracted to each other in all sorts of way including in some very intense sex scenes. By the time they’re both vampires, there’s an amazing sequence where they both bounce on buildings as if they’re having a dance of sorts. There’s a lot of great wide compositions and stylized shots that Park creates throughout the film that keeps things exciting but also have the audience pay attention to some of the smaller things that is going on. Overall, Park creates a truly dazzling film that does more for what is expected in the vampire film genre.

Cinematographer Jeong Jeong-hun does incredible work with the film‘s very stylish cinematography from the gorgeous nighttime textures for many of the film‘s exteriors to some stylish lighting for some of the film‘s interiors including its third act. Editors Kim Sang-Beom and Kim Jae-Beom do amazing work by creating an array of stylish cuts to play with the film‘s rhythm that includes jump-cuts and an amazing montage for Sang-hyun‘s transformation. Production designer Seong-hie Ryu and set decorator Jiyeon Song do great work with the set pieces such as Kang-woo‘s home that is later re-decorated into something far more stylish to represent Sang-hyun and Tae-ju‘s new life.

Costume designer Sang-gyeong Jo does nice work with the costumes from the priest robes that Sang-hyun wears early in the film to the stylish old-school robes that Tae-ju and Lady Ra sells. Makeup/hair designer Jong-hee Song does very good work with some of the hair styles created such as Lady Ra‘s look and the look for the more sexualized Tae-ju during the film‘s progression. Visual effects supervisor Jeon-hyeong Lee does fantastic work with the visual effects from the way the wounds are quickly healed to the way Sang-hyun and Tae-ju bounce on buildings in far away scenes. Sound designers Chang-seop Kim and Suk-won Kim do brilliant work with the sound from the intimacy of the mahjong games to some of scenes involving the couple thirsting for blood.

The film’s score by Jo Yeong-wook is marvelous for its orchestral-driven score that features soaring themes to play with its romance and suspense to more rhythmic pieces to help emphasize the film’s quirkiness and romance.

The film’s cast is superb for the ensemble that is created as it includes some notable small performances from Oh Dal-su, Mercedes Cabral, and Song Young-Chang as a trio of Lady Ra’s mahjong players, Hwang-woo Seul-hye as a young woman who camps out the hospital that Sang-hyun has left, Choi Jong-ryeol as Sang-hyun’s blind mentor, and Eriq Ebouaney as a man who is trying to find a vaccine for the disease that Sang-hyun wants to take on early in the film. Kim Hae-sook is great as the very cruel Lady Ra who abuses Tae-ju while displaying a great sense of physicality when she goes into a state of shock. Shin Ha-kyun is pretty good as Tae-ju’s husband Kang-woo who is trying to recover from cancer while being a cuckold to everything that is happening around him.

Kim Ok-bin is brilliant as the unhappy Tae-ju who seeks an escape from her dreary domestic life in the form of this mysterious man she falls for as she later manipulates him into doing deeds. It’s a very fun and lively performance from Ok-bin who definitely seems to relish in playing a vampire as she provides a lot of dark humor to the film. Finally, there’s Song Kang-ho in a fantastic performance as Sang-hyun who is trying to deal with his new role as a vampire as well as growing sense of doubt. It’s a role that has Kang-ho display some amazing physicality in the way he tries to cope with his situation as a vampire by displaying some humility as he and Ok-bin have chemistry that is electrifying to watch.

Bakwji is a truly stylish yet thrilling romantic-vampire film from Chan-wook Park. Featuring outstanding performances from Song Kang-ho and Kim Ok-bin, it is a film that is really one of the best vampire films that refuses to play into conventions while giving audiences something to laugh at and be grossed out by. For fans of Park, this is definitely his most mature feature to date in the way he presents violence, humor, and romance to create what is one of more accessible films. In the end, Bakwji is an engaging yet entertaining film from Chan-wook Park.

Chan-wook Park Films: (The Moon Is… the Sun’s Dream) - (Trio) - Judgment (1999 short film) - JSA: Joint Security Area - Sympathy for Mr. Vengeance - (If You Were Me-Never Ending Peace and Love) - Oldboy - Three Extremes-Cut - Sympathy for Lady Vengeance - I'm a Cyborg But That's OK - (Night Fishing) - Stoker - The Handmaiden - (The Little Drummer Girl (2018 TV series)) - Decision to Leave

© thevoid99 2012

Sympathy for Mr. Vengeance

Originally Written and Posted at Epinions.com on 5/2/07.

Throughout the history of Asian cinema, countries like Japan, China, Taiwan, and even Hong Kong were often the dominate places that helped give Asia a large profile in international cinema. In recent years, another country has been getting attention for re-energizing Asian films in South Korea. Directors like Kim Ji-Woon and Kim Ki-duk brought new imagery and styles to the genre ranging from horror, drama, and action. Another director that's been getting attention for his groundbreaking work is Chan-wook Park. Park was making films since the early 1990s when in 2000, he scored a big hit with Joint Security Area the explored the divisions of countries and border issues. In 2002, Park created work on a film trilogy about vengeance known as The Vengeance Trilogy that would give him international prestige and most recently, controversy. In 2002, he released the first part of the trilogy with the film entitled Sympathy for Mr. Vengeance.

Written by Park along with Jae-Sun Lee, Mu-Yeong Lee, and Yong-Jong Lee, Sympathy for Mr. Vengeance tells the story of a deaf-mute who goes on a mission to find a kidney for his ailing sister. Along the way, he encounters several people where he gets involved in a series of unfortunate events. Directed by Park, the film explores vengeance and the brutal streets of South Korea. Starring Kang-ho Song, Ha-kyun Shin, Doona Bae, and Ji-eun Lim. Sympathy for Mr. Vengeance is a brilliant, harrowing drama from Chan-wook Park.

A letter is being told on the radio as the deaf-mute Ryu (Ha-kyun Shin) has given up his art school dreams to work in a factory in order to raise money to get his sister (Ji-eun Lim) a new kidney as she is falling ill. Helping Ryu is his radical girlfriend Yeong-mi Cha (Doona Bae) as they’re trying to help out. Ryu is even considering of giving his kidney to his sister but the only problem is that he has a different blood type than hers. Making things worse, Ryu has just been fired in his factory job as his only hope is through a black market organ dealer. He contacts the leaders of black market by paying 10 million won to give him his kidney in exchange for the right kidney for her sister. After giving them black market the money, he is left naked in an abandoned building while the doctor tells Ryu that a kidney has been found for his sister but the operation will cost 10 million won.

Angry over the loss of money, Yeong-mi decides to concoct a plan to steal money from his former boss by kidnapping the boss' daughter. The plan is eventually scrapped as they find the a neighbor of the boss named Dong-jin Park (Kang-ho Song) with a little girl during a scuffle between Ryu's ex-boss and a former employee of the factory. Immediately, Ryu and Yeong-mi kidnap Park's daughter (Bo-bae Han) and put her in the care of Ryu's sister. Ryu and Yeong-mi concoct a ransom for Park to pay and everything seems to go right until a series of tragedies occur.

After Park had been freed after being tied by Ryu after the exchange, he learns what had just happened. The aftermath of the tragedies destroys Park emotionally as he is cornered by cops about the tragedy. Learning that a black market was involved in dealing with organs, Park decides to make his own investigation into what went wrong. Ryu and Yeong-mi learn that their troubles are far from over as they learn they're not done with the black market people. They're unaware that Park is seeking vengeance over what had happened. When Yeong-mi attempts to make a deal with the black market dealers, she is unaware about her troubles as Park is going after her. Ryu meanwhile, has his own idea of vengeance where immediately, Ryu and Park would confront each other over the tragedies they suffered.

Vengeance is obviously the theme that Chan-wook Park is saying yet, the momentum and what drives vengeance is what makes this film very interesting. While the film is a bit flawed in the expectations of a genre with moments of excessive violence in the few scenes along with character study drama. The fact that Park chooses to tell the story of two men being driven to revenge over the different actions they're in. The structure of the screenplay is interesting for the focus on character. The first half is about the plan of the kidnap and Ryu's motives. The second half is the tragic aftermath as well as Park's own personal investigation and vendetta over what happened. Both characters are sympathetic over their loss yet their actions make them more complex in how far they're willing to gain some kind of justice though it's blind. A subplot involving Yeong-mi's radical leftist actions doesn't really work until the end while the story about the black market is intriguing into how business is conducted as well as the seedy world of corruption that surrounds South Korea.

Park's direction definitely drives the film's dramatic momentum in the screenplay. The direction is very observant as well as interpretative into what the characters are doing. Park's approach is stylish with bits of violence that is horrifying to watch while the tragic moments are unexpected. Park observes what is going to happen, even the tension between Ryu and Park is just ominous to watch to see what's going on. Despite some of the film's flaws, Park has indeed created a solid film that explores the dark depths of revenge.

Cinematographer Byeong-il Kim does amazing work in the film’s photography, notably for capturing the stark exterior sequences in the film’s locations like the river and the city which is unique in itself. Production designer Jung-hwa Choe and art director Sang-man Oh also do great work in creating the working class look of the homes of Ryu and his neighbors with Park having a more posh look. Costume designer Seung-heui Shin brings color to the look of the characters from the red shirt that Ryu wears along with his blue hair to the radical clothing that Yeong-mi wears. Editor Sang-Beon Kim definitely adds a nice, elliptical pace to the film with elements of some stylish cuts to convey the film's action and intensity. Sound mixers Seok-weon Kim and Seung-cheol Lee also do fine work in creating the tense atmosphere and tension of the scenes that are shown on the film.

The film's cast is great that features notable small roles from Kan-hie Lee as Park's ex-wife, Se-dong Kim as an investigator, Dae-yeon Lee as the black market organizer, and Seung-beom Ryu as a mentally-disabled man in the river. Bo-bae Han is great as Park's daughter Yu-sun who is unaware of what's going on or why she's kidnapped only to be in great care by Ryu's sister. Ji-Eun Lim is also excellent in her brief role as Ryu’s ill sister who seems like the kind of person that Ryu adores and why he's so loyal to her. Doona Bae is really good as Ryu's anarchist girlfriend Yeong-mi who pretty much comes up with the whole plan while working on her anarchist movement. She is an excellent character who plays the only friend Ryu can communicate with as she is unaware of the troubles that's caused.

Ha-kyun Shin gives a fantastic performance as the deaf-mute Ryu who is really a troubled young man wanting to do the right thing but always do it in the wrong way. Shin brings a lot of sympathy early on in the film but as the film progresses, Shin becomes darker and unsure. Shin's performance is amazing in displaying a character who is flawed in so many ways yet relatable to an audience. Kang-ho Song is also great as Mr. Park, a man who is a victim at first only to go into a dark world of vengeance. Song brings a restraint to the performance as a man haunted only to seek revenge in the worse way. Not only does he bring sympathy to his performance but also darker which makes him just as complex as the character of Ryu.

While it's not a perfect film or superior to its follow-up Oldboy, Sympathy for Mr. Vengeance is still an excellent, harrowing film from Chan-wook Park. New to Park's work will find this as a nice place to start, even with its trilogy. Park fans will say Oldboy is much better as well as a superior introduction. Anyone who isn't into graphic violence might want to stay away from this though it's only in a few scenes. In the end, Sympathy for Mr. Vengeance is still a pretty damn cool movie.

Chan-wook Park Films: (The Moon Is... the Sun's Dream) - (Trio) - Judgement (1999 short film) - JSA: Joint Security Area - (If You Were Me-Never Ending Peace and Love) - Oldboy - Three... Extremes-Cut - Sympathy for Lady Vengeance - I'm a Cyborg but That's OK - Thirst - (Night Fishing) - Stoker - The Handmaiden - (The Little Drummer Girl (2018 TV series) - Decision to Leave

© thevoid99 2011

JSA: Joint-Security Area

Originally Written and Posted at Epinions.com on 8/22/09.

Before getting the attention of the film world with his Vengeance Trilogy, particularly 2003's Oldboy, Chan-wook Park was just a South Korean director trying to break through in the Korean film scene. With two films to his credit by 2000, Park was also a film critic until he decided to make a film that would give him his first taste of success in and out of Korea. The film revolves around the border between North and South Korea in a political-drama of sorts about an illegal shooting in the border entitled JSA: Joint Security Area.

Directed by Chan-wook Park with a screenplay written by Park, Seong-san Jeong, Hyeon-seok Kim, and Mu-yeong Lee based on the novel DMZ by Sang-yeon Park. JSA: Joint Security Area tells the story of two North Korean soldiers killed on the border supposedly by a South Korean officer. Investigating the shooting are a team of Swedish/Swiss officers as they interrogate camps from both countries as another party could be involved in part of a cover-up. Starring Lee Young-Ae, Lee Byung-Hun, Song Kang-ho, Kim Tae Woo, Shin Ha-kyun, and Herbert Ulrich. JSA: Joint Security Area is a provocative, smart, haunting film from Chan-wook Park.

Arriving into Seoul, South Korea for an investigation on the death of two North Korean soldiers on the border is a Swedish officer (Herbert Ulrich) and a Swiss-Korean officer named Major Sophie E. Jang (Lee Young-Ae). Under the instructions of a Swiss-based German U.N. official (Christoph Hofrichter), Jang must make sure she stays neutral in the investigation where a South Korean officer named Sgt. Lee Soo-hyeok (Lee Byung-Hun) is charged for the deaths of the two North Koreans. What is known was that during some work at the border, Lee was kidnapped by three North Korean officers in which he killed two of them with one wounded as a near-battle ensued. With Lee currently in a state of shock, Jang and her Swedish partner go to North Korea to investigate the bodies of the dead soldiers while trying to interrogate the wounded soldier Oh Kyeong-pil (Song Kang-ho) who revealed a different story of what had happened.

Jang, having never been to Korea in her life, talks to Lee's girlfriend who is revealed to be the sister of one of Lee's friends in Pvt. Nam Sung-shik (Kim Tae Woo). When Lee is starting to talk but revealing very little and Nam's gun was found with bloodstains. Nam attempts suicide where a story revealed Lee's first encounters with Oh and a North Korean officer in Private Jeong Woo-jin (Shin Ha-kyun) during an exercise by the South Koreans where Lee was stuck on a land mine. Lee became friends with Oh and Jeong where he also invited Nam, who was reluctant to meet with the North Koreans as the two parties believed these meetings would involve a possible reunification between the two countries. Yet with the conflict between North and South rising, Lee and Nam decide to make one last visit to the North Korean border station to celebrate Jeong's birthday where an officer makes an appearance that would change everything.

With Nam now in a coma and Lee awoken from his state of shock, Jang realizes that there's something more in what is going on. What she later finds out following a disastrous meeting between North and South Korean officials including Oh and Lee that she is now set to leave because things are becoming two close. With her superior revealing some harsh stories about the North-South Korean conflict during the Korean War that included a war in a concentration camp for North Korean POWs. The end of that conflict had prisoners choose side where 76 of them decided not to choose sides. The superior reveals that reunification will cause trouble as she has no choice but to leave. Yet, she decides to continue the investigation where she learned the truth and its implications for the survivors involved over what had happened.

The film is a traditional whodunit kind of film of sorts with elements of political drama. Yet, it's really about the conflict between the two Korean factions and why the possibilities of a reunification might seem impossible due to political ideals. At the center of the story is this Swiss-Korean woman who had never been to Korea in her entire life where not only she would learn about this conflict but also herself in relation to her own background. A background that could help or hurt her involvement in the investigation. What she would also discover is how these four men would come together at night in the North Korean border station and just have fun while talking about the idea of reunification. Then comes an incident that would change everything with different stories.

The screenplay Park and his team of writers creates is definitely full of intrigue and the fallacies of the political climates that North and South Korean each are involved in. At the same time, there's a lot of character and political motivation that goes on during the investigation and its objective. Particularly since South Korean is influenced by the idea of American capitalism that also has the involvement of the American military around this fragile border area. It is clear that the four men involved this exchange between the two factions that there is a clear disdain towards American involvement. The political intrigue and dramatic elements into the investigation makes the story to be quite mesmerizing though it starts out clunky at first during the first act due to Park's direction.

Park's direction is truly haunting from his eerie visuals that would set the stage for later films to follow. Yet, it starts out a bit slow while the acting in English isn't that great either since you have actors from different nationalities seemingly uncomfortable in speaking English. Yet, when the investigation goes on what starts to unravel scene by scene, it becomes a far more provocative film. There's an entrancing quality to the camera angles and intimate scenery that Park presents at the border station while allowing bits of humor and such to happen. Park's approach to action and how he creates the idea of what had happened reveal in its different stories to add an aura of mystery to the film. Despite a slow, clunky beginning, Park's work in the film is truly fascinating as he engages the audience with provocative ideas and haunting images.

Cinematographer Sung-Bok Kim does excellent work with the film's eerie photography with the dark, blueish color of the nighttime scenes at the border area in the forests and bridges. Kim also has some more colorful, grainy looks for some of the scenes of a nearby town and bright colors for the daytime scenes at the buildings near the border as Kim's work is solid overall. Editor Sang-Beom Kim does fantastic work with the editing in creating a leisurely-paced feel to the film while playing with the film's structure in moving back and forth to what is going on in the investigation and what happened where the second act is all about what happened leading to the events. Art director James David Goldmark along with cinematographer Sung-Bok Kim, as an art director, do brilliant work in the re-creation of the station borders and bridge along with the buildings of the Joint Security Area to reveal the dark political feel of the film.

Costume designer Sang-hoon Park does excellent work in the creation of the uniforms that the characters wear from the distinguished suits of the North Korean and other international personnel to the more infantry uniform look of the South Korean soldiers. The sound work by Seok-weon Kim and Wong-Yong Kim is very good in the tense atmosphere of possible conflict along with scenes of gunshots and things that go on for dramatic elements of the film. The music by Jun-Seok Bang and Yeong-wook Jo is very good in its elements of suspense and chills with eerie orchestral arrangements and soothing, dramatic pieces for some of the film's calmer moments.

The cast is excellent with small roles from Herbert Ulrich as the Swedish officer accompanying Jang and Christoph Hofrichter as their superior who is more interested in making sure things stay the same without any kind of disruption. Kim Tae Woo is excellent as the South Korean Pvt. Nam who at first is reluctant to take part of the exchange only to become a pawn in the investigation consumed with guilt. Shin Ha-kyun is really good as Pvt. Jeong who is fascinated by American products as well as a girl both factions seem to be fascinated by. Song Kang-ho is great as Sgt. Oh, a North Korean officer who whistles when he exhales cigarette smoke who is loyal to his country but also frustrated as he befriends Sgt. Lee. Lee Byung-Hun is really good as Sgt. Lee, a South Korean who is saved by Sgt. Oh from a landmine as he shares with about his own ideas of a reunification between the two Korean factions. Finally, there's Lee Young-Ae as Major Jang. While her performance in English is at times, awkward and uncomfortable, she's in her element in maintaining a calm, observant performance where she uncovers what happens while dealing with what has happened.

The film drew massive acclaim in South Korea as it was later seen in 2007 by North Korean leader Kim Jong-Il by South Korean leader Roh Moo-Hyun. The film would be Chan-wook Park's first international success winning several awards while being presented at the 2001 Berlin Film Festival and awarded the Special Jury Prize at the Seattle International Film Festival. The film would mark as a breakthrough for Park's career as his next three films would give him massive international attention.

JSA: Joint Security Area is a brilliant, provocative film from Chan-wook Park and company. Fans of Park's films, particularly the Vengeance trilogy, will see this film as a great example of Park's early work while being a nice introduction of sorts to the famed South Korean directors. Fans of political thrillers and dramas will see this as a refreshing film about murder and intrigue while getting insight into the fragile relationship between North and South Korea. In the end, JSA: Joint Security Area is fascinating, entrancing film from Chan-wook Park.

Chan-wook Park Films: (The Moon Is... the Sun's Dream) - (Trio) - Judgement (1999 short film) - Sympathy for Mr. Vengeance - (If You Were Me-Never Ending Peace and Love) - Oldboy - Three... Extremes-Cut - Sympathy for Lady Vengeance - I'm a Cyborg but That's OK - Thirst - (Night Fishing) - Stoker - The Handmaiden - (The Little Drummer Girl (2018 TV series) - Decision to Leave

© thevoid99 2011