Explanation of a Masterpiece - All Your Questions Answered (3rd edition)

(I’m reposting this as a new thread, because my first one had nearly 450 posts and the second one had 298, making it take too long to load and IMDB now limits threads to 300 posts).

This film is a brilliant masterpiece. While most viewers are confused after the first viewing, as was I, when viewed again, the pieces start coming together, moving immediately from a confusing set of jumbled up scenes, to an absolutely brilliant work of art. I will assure you, if you take the time to read this post, your questions will be answered, and your confusion will turn to awe. Furthermore, I will say that every scene, every action in the film has significance.. If anything is left unanswered here, please feel free to post your question. I've seen this film at least 15 times now; I love it, understand it, and believe I can offer a credible explanation to most any question. (such as, what the hec was the seizure scene about?, Why does Su-mi look oddly at the duplicate journal on the desk and dresses in the closet? What's up with the bloody fish in the fridge?, and What really happened to the Step-mom in the end?, to name a few)

(Major Spoilers Ahead)


To begin with, one must first understand, that from the opening scene, until the scene near the end where Eun-joo, (the step-mother), arrives at the house in a gray suit, the only people in the house were Su-mi, and her father. (Excepting a brief dinner visit by the couple). Su-mi’s sister Su-yeon, and her step-mother Eun-joo were existent only in Su-mi's mind. However, there are a few scenes where we see the ghosts of Su-yeon and her mother.

The next thing one must understand is that this film, while being a horror film, is more so a psychological thriller and a drama. It is a story of incredible regret, and the inability to cope with guilt and remorse. When the viewer realizes for the first time what is really going on, their heart has no choice but to break for Su-mi.

Through later flashbacks, we are led to believe that the girls' mother suffered some illness or depression, requiring the presence in the home of Eun-joo, who seems to be a nurse of some sort (further evidenced by some of the pictures). It is rather subjective here, but either she was having an affair with the father, or perhaps Su-mi just believed that she was. In either case, the flashbacks, which I believe to be factual and reality, indicate a great deal of animosity and bitterness between Eun-joo and Su-mi. The mother commits suicide, and Su-yeon, finding her, panics, pulling the wardrobe over and is crushed. Su-mi, hearing this, begins to investigate but allows her bitter feelings for Eun-joo to override her concern for what she heard. Eun-joo, realizing this, drops a line telling her that she will regret it, knowing full well how deep this will cut later, as she knows Su-yeon is dying at that very moment. Upon realizing what has happened, Su-mi has a mental and emotional collapse. She is committed to a mental hospital for a period of time, and upon being released, we find ourselves at the movie's beginning.

Su-yeon was everything to Su-mi, yet she wasn't there for her when she needed her the most. And what's worse, she wasn't there because she chose to embrace her hatred for Eun-joo instead. Finding that, in the real world, she was incapable of coping with the tremendous degree of regret and guilt, Su-mi subconsciously looks for a way to escape the pain. One could say that she tries a form of self-induced psychological therapy. First she creates Su-yeon, so she can have her back and "be there for her". Of course, this required that she have someone to protect her from, therefore, she also creates Eun-joo. It is also interesting to note that she can play out the part of any of the three, while imagining the other two. Su-mi starts her therapy by creating situations where she can "Be there" for here sister. She comforts her when things go bump in the night. She helps her with her first period. (slight give-a-way when all 3 have their period at the same time). And when the girls leave the table after the confrontation with Eun-joo, Su-mi reassures Su-yeon that she will be there for her. All situations that take place in Su-mi's mind, created to give her a second chance.

Finding herself still under the weight of guilt and remorse, Su-mi increases the therapy. She creates situations of a more serious nature. She imagines Su-yeon having bruised arms, and being locked in the wardrobe. This gives her opportunities to be there for her sister in situations that are far more desperate. Unfortunately, the therapy's effectiveness is slipping, as indicated by the fact that while she did rescue Su-yeon from the wardrobe, it was not in a timely manner. She actually repeats this scene numerous times, as indicated when she told her father, "She KEEPS locking Su-yeon in the closet". At this point, Daddy drops the bomb, reminding Su-mi that Su-yeon is dead.

Her therapy threatened, Su-mi panics, as she can't bare to return to reality, for it is far to painful. Making one last frantic attempt, she turns the level of self-induced therapy all the way up. Now she creates extreme situations, ones of life and death; situations requiring Su-mi to "be there for her sister when she needed her the most". She imagines Su-yeon in a bag, bloody, beaten nearly to death. The guilt and remorse, however, are greater than the therapy. This is exemplified by the fact that, while Su-yeon is apparently still moving, she is all but dead, and Su-mi is all but too late. Su-mi is totally falling apart now. She becomes desperate, even injuring herself. Guilt and remorse are closing in for the kill. Next we find Su-mi in the scene that really broke me. She's lying on her back, with Eun-joo hovering above (now the symbol of the guilt and remorse that so relentlessly chases her). Realizing the futility of her actions, Su-mi says "Do you know what's really scary? You want to forget something. Totally wipe it off your mind. But you never can. It can't go away, you see. And... and it follows you around like a ghost." It is at this point that Su-mi realizes that she has only one cure, only one way to escape this pain....death. For the first time since early on in the film, we see peace and even a slight smile on her face, as she fully expects to die, thus not hurt any more.

Not so, as the father now arrives home, bringing the real Eun-joo with him...another shocking revelation to Su-mi, who at this point was back in "Eun-joo mode" and sitting on the couch. Su-mi returns to the hospital, while Eun-joo gets to meet the ghost of Su-yeon…or does she?

Now find below some common questions.

1. WHAT'S WITH THE SEIZURE BY THE DINNER GUEST THAT SEEMED SO OUT OF PLACE? It is not, I repeat NOT, a seizure, such as an epileptic would have. First of all, if she were in fact epileptic, her husband would have known this, but he didn't. This is obvious by the look on his face, and the fact that they tried to give her medication. Web MD states that you never give anything by mouth to someone having a seizure, just help him or her to the floor, and move objects away. So, what was it? What was taking place was a supernatural manifestation of Su-yeon's ghost, reenacting Su-yeon's death. Notice the similarities. First, the camera deliberately focuses on the hand trimmers here, and in the scene where Su-yeon is crushed, obviously pointing the two incidents to each other. Also she doesn't just fall over, but slams to the floor, as if being thrown down, as Su-yeon was by the wardrobe. And, she panics, gasps for air, and throws up, all things Su-yeon was likely to have done when she was crushed. This explanation is also supported by the fact that Su-yeon's ghost is present at the scene, under the sink.

2. WHAT'S UP WITH THE BLOODY FISH IN THE FRIDGE? As stated earlier, this is a story of incredible guilt and remorse. Su-mi feels that it is her fault her sister died, because she wasn't there for her. She feels like she has Su-yeon's blood on her hands. Notice how many times this is reflected upon. At the beginning, we find a psychiatrist, intently washing his hands before an interview?? This was a hint as to what the story was going to be about...ridding one's self of feelings of guilt, similar to Pilot washing his hands after he gave Jesus over to be crucified. Handling the fish seems strange; however it causes Su-mi to have blood on her hands. Likewise, when she rose from bed prior to the scene concerning the menstrual periods, she again had blood on her hands. During Su-mi's dream, the camera tightly focuses on her bloody hand twice. Remember that these were not real scenes, but ones taking place in Su-mi's mind. Her mind refuses to let her off the hook, constantly reminding her that she is to blame for her sister's death, relentlessly telling her that Su-yeon's blood is on her hands. Even when she imagined being in a fierce fight with Eun-joo, she stabs herself, of all places, in the hand, once again placing "blood on her hands". Finally, when her father puts her on the couch, again the camera deliberately focuses on their hands. As he pulls his hand away, not only does Su-mi have blood on her hand, but so does he. How fitting.

3. WHEN SU-MI FIRST ENTERS THE ROOM IN THE BEGINNING, WHY DOES SHE LOOK SO BEWILDERED AT THE JOURNAL AND THE DRESSES IN HER CLOSET? (All of which were alike, either of only two colors). Su-mi is obviously a very troubled and confused girl. She is taking on quite a task trying to remove her guilt by creating this illusionary world. And, she doesn't just do the scenes once. It's a repeated thing, as she tries to find a way to escape the pain. As discussed before, the scenario of Su-yeon being locked in the closet happened several times. It is reasonable to assume that she repeated most if not all the scenarios, until they no longer worked, whereby she moved to the next stage. Being confused, she would forget that she had been here before, that she had acted out this scene several times, but her mind would remember bits and pieces, such as she had already brought the journal into the room on a previous enactment. Likewise, the dresses symbolize the same thing; she has been here many times before.

4. WHAT IS THE SIGNIFICANCE OF THE TARP COVERED MOUND IN THE MIDDLE OF THE ROAD. Quite frankly, nothing. It's a matter of culture. This is a common site in rural farming areas of South Korea, during harvest. I certainly didn't know this myself, and actually checked it out, frame by frame, trying to figure it out. Then I read somewhere, an explanation by someone originally from South Korea, who stated that this was the case. It would be kind of like someone from another country watching an American film and seeing for example, two wooden crosses on the side of the road. Not understanding our culture or customs, they may think it’s pertinent to the film, when in truth, it represents a fatal accident in real life, having nothing to do with the movie.

5. WHAT IS THE CONFUSING DINNER CONVERSATION ABOUT, WHERE THE MALE GUEST BECOMES IRRIATED WITH EUN-JOO? The male guest is Eun-joo's brother. However, the Eun-joo at the dinner table is actually Su-mi acting out her "Eun-joo" personality. For the personality to work, she must know her brother, and have memories of their childhood, therefore she starts telling childhood stories of when they were growing up. Since, in reality, this is Su-mi, the memories are fictitious. Instead of seeing it from Su-mi's (in Eun-joo mode) perspective, which is what is shown in this scene, look at it from the young man's perspective. He sees Su-mi, not Eun-joo, who is telling stories of their childhood, as if she is his sister; memories of events that never took place. He is thinking, "Girl, you are totally messed up".

6. WHAT'S DOES THE FIRST BEDROOM HORROR SCENE MEAN? The first dream is just a dream brought on by all the mixed up thoughts of Su-mi. The subsequent one, while appearing to be a dream, is not just a simple dream, but one brought on by the ghost of her mother. But why would she haunt Su-mi? Well, she is very displeased with the thought of her daughter pretending to be this "other woman" that destroyed their home, and perhaps forced her to suicide, and allowed her daughter to die. Standing over Su-mi, she has blood running down her leg, then a hand. In a creepy way, she is symbolizing childbirth, but hey, she is a ghost. The purpose is to say, "What do you think you're doing, How could you presume to be this other woman that I hate. You're my daughter, my flesh and blood, I GAVE BIRTH TO YOU! Snap out of it".

7. WHEN EUN-JOO'S SISTER-IN-LAW WAS ON THE FLOOR HAVING HER LITTLE SU-YEON EXPERIENCE, WAS THERE ANY SPECIFIC REASON WHY THE GHOST OF SU-YEON WAS UNDER THE SINK LOOKING DECOMPOSED OR BURNT? Actually, being a two-part question, I'll address as such. First, concerning the significance of the placement in this scene, it would seem kind of strange at first, but consider this. As stated above, Su-yeon in causing a supernatural manifestation of herself and her death to take place here through Mi-hee, (the sister-in-law). I don't believe that it is arbitrary, or haphazard that she is under the sink. This is an extremely cramped, confined space, where physically she really couldn't fit, much the same as the extremely cramped confined space she died in, and at that very moment, is re-enacting through Mi-hee.. Now, as for her appearance, this is dried blood, rather than burnt flesh, as there is no other reference that would point to burning. She is shown this way for two reasons. The first was for shock effect. Let's face it, can anyone imagine a more innocent, humble face that Su-yeon? I can't. However, this sweet face would hardly serve the purpose in this scene, therefore, they show her bloody, or decayed for the shock effect. The second reason for her appearance is to disguises her identity, as we are not to know yet that Su-yeon is dead.

8. WHY DO THE BROTHER AND MI-HEE COME OVER FOR DINNER WITHOUT STEPMUM BEING THERE? Well, as shown from the flashbacks, there is quite a bit of animosity between Su-mi and Eun-joo, and the father knows this. (Even if the affair was in Su-mi's mind, Su-mi still hates Eun-joo) Because of this, during the phone call the father told the real Eun-joo that it wouldn't be good for her to come up right now. However, he felt that Su-mi could benefit from some social interaction

9. DOES THE STEPMOM DIE AFTER SU-YEON’S GHOST COMES OUT OF THE WARDROBE? While experiencing this incredible film, the viewer is mercilessly led into the troubled mind of this young girl, while simultaneously being lead through the dark heart of this haunted house. Subsequently, they find themselves in a delightfully frustrating situation. Was a particular scene real, or was it not? Was it psychological or supernatural?
In short, no, Eun-joo doesn't die. This whole scene is once again in Su-mi's mind. Su-mi was robbed of her fantasy therapy of imagining herself as Su-yeon when her dad drops the reality bomb on her. She panics and starts imagining really drastic events, even to the point of stabbing herself. Next she is robbed of imagining she is Eun-joo, when the real Eun-joo shows up, and off she goes back to the psych ward. Now, not only does she not have her means of self-induced therapy, and thus her means of coping with her pain, she also feels totally defeated by this woman whom she absolutely hates, and knows allowed her sister to die. She wants vengeance against Eun-joo, but the only way to get it is to return to her imagination. She has to accept Su-yeon as dead, at least for the time being. Therefore, she envisions in her head, (and I'm sure it's very real to her), the death of Eun-joo at the hands of Su-yeon's ghost. We know this to be true for several reasons.
(A) The blood seeping up from the floor is obviously reflecting on the blood seen earlier from the bloody bag. However, the bloody trail and bloody bag were in Su-mi's mind, therefore, if we are seeing evidence of the blood trail again, we must be once again in Su-mi's mind.
(B) The wardrobe. Notice in this scene that the wardrobe is in Su-yeon's room. It shouldn't be there. It is downstairs now in the same room as the medicine cabinet. It really is downstairs, as the father is seen viewing it after Su-mi's stabs her hand. He must have moved it from her room after the accident.
(C) The pictures. There were pictures in the frames just the day before, when the father walked into Su-yeon's bedroom and confronted Su-mi, then dropped the bomb about Su-yeon being dead. Now, in this scene, the frames are empty. Seems Su-mi finally accepts her sister as dead and gone, (for the time being anyway), thus subconsciously she imagines the picture frames barren, just as she feels.
(D) Su-mi, at the hospital, turns and says "Su-yeon". She's at the hospital when she says this. The next scene, we see Eun-joo in the house, alone. Then we go back and forth from this scene, to Su-mi's flashbacks. When the "fate" scene is over, then we see Su-mi laying in the hospital, with a tear down her face. Point is, we were in her mind during all of this; the flashbacks she was remembering, and the vengeance she was desiring, all jumbled up together in this poor girls head. Dang, I hurt for her still, and I've seen this film nearly 20 times.
(E) The running that Eun-joo hears. Early in the film, Su-mi imagines running in the hall as a method of awaking Su-yeon, and also herself so she can go to her own bed, in order to be there for her imaginary Su-yeon when she arrives frightened by the running, and the door creaking and slamming. All of course as a method of Su-mi's self therapy.
(F) While there were hauntings, namely the bedroom scene, and the kitchen scene, the primary premise of the film up to this point has been that Su-mi lives in a delusional world where she imaginations what she needs to serve her purpose. Throughout the film, she imagines increasingly serious situations where she can “be there” for her sister, in order for her to cope with the guilt and remorse of not being there when she needed to be. This is how she has come to deal with her trauma. Now, in the hospital once again, she’s faced with a new challenge; “How can I enact revenge, (justice), on this woman who now holds my arm and pretends she cares, as father stands watching” She faces this challenge the same way she faced the other; she imagines what she desires.
(G) As “yurichar” points out on another post, this “fate” scene takes place at night, however, when over, we immediately see Su-mi in hospital, but it’s daytime. This strongly indicates that Su-mi was imagining, (wishing), Eun-joo’s ghostly death.
Personally for me, while subjectivity is certainly permissible here, the notion of this poor girl, stuck in the hospital, still living in a delusional world, and still trying to imagine her way out of her problems, is so sad. It gives the film a much deeper sense of feeling than just knowing that Eun-joo got what was coming to her.

(Due to length, questions continued on next post)


"Do you know what's really scary? You want to forget something. Totally wipe it off your mind. But you never can. It can't go away, you see. And... and it follows you around like a ghost."