WORDS BY
SOY KIM
Park Chan-wook: The Master of Dark Irony
PHOTOGRAPHY BY
MOK
In our digital cover story, Park Chan-wook unpacks how pitch-black humor, contradiction, and cruelty converge in No Other Choice.
Film director Park Chan-wook is synonymous with “modern South Korean cinema.” Despite blockbuster hits, a cult fan following, and critical acclaim, Park is haunted by the very questions that possess his onscreen characters: the illusion of freedom, its hidden cost, and the uneasy question of whether it’s worth chasing at all.
The farcical nature of this human dilemma serves as a drumbeat across Park’s oeuvre spanning more than three decades, including works as diverse as grisly thrillers, neo-noir melodramas, and erotic mysteries. Many of his films leave you with the sinking realization that even on the precipice of change, most humans will cling to the very structures that confine them. The French playwright Jacques Deval once wrote, “God loved the birds and invented trees. Man loved the birds and invented cages.” Park’s films bring this sentiment to life.
Since the 2003 thriller Oldboy catapulted him into the global cultural zeitgeist, Director Park has built a volume of work that doubles as a canvas for his own understanding of what it means to be human: one that is exacting, self-aware, ironic, and at times, even quietly hopeful. His background in philosophy and penchant for authors like Vladimir Nabokov and Franz Kafka are apparent in his foregrounding of man’s self-made plight. Violence, music, and dark comedy serve as sensory tools to heighten this message. In conversation, Park notes the role of humor in particular as a destabilizing force. Rather than softening the blow, humor bites back in Park’s films. “Through humor, sad moments feel sadder; scary moments feel even scarier,” he notes.
Though his name commands considerable weight at both the international box office and classrooms alike, Park maintains a humility and zeal for filmmaking as a way of expressing his innermost thoughts. He is as much a devoted cinephile as he is a master craftsman, lighting up as he points out Easter eggs embedded in his meticulous frames-within-frames, or how each soundtrack selection is accompanied by its own story of discovery. His skillful command is evident in the way his latest film No Other Choice balances sharp emotional dissonance with visual beauty; in how it asks — between moments of pure comedy — what happens when obsession overtakes reason to form an entire worldview?
No Other Choice is an absurdist dark comedy that follows protagonist Man-su, a hard-working family man, to the depths of his moral demise. When he is abruptly dismissed from a job he has held for decades, Man-su loses more than his livelihood: his identity as a man, father, and loyal employee evaporates along with it. His desperation to restore his self-worth drives him to grotesque lengths. He creates a fake company to source, track down, and systematically murder his top competitors. By the film’s end, what began as frantic, amateur — even slapstick — attempts at survival have hardened into a near-manic, newfound confidence, one built entirely on unspeakable violence.
An upstanding man at the start of the film, Man-su’s descent exposes the terrifying adaptability of human morality within oppressive systems. In No Other Choice, the overall message is blunt: freedom from a system is impossible without recognizing the cage, and humans are sadly efficient at replacing one hamster wheel with another. If the futility of vengeance was a core theme in Park’s earlier works, perhaps No Other Choice underscores the futility of man’s search for freedom.
In conversation, Director Park points to what makes Korean films distinct: emotional density and a refusal to obey genre rules. “Sometimes there are several genre changes within the same film,” he notes. “Korean films defy conventions as they fuse genres, developing in a manner that is unexpected for the viewer.” No Other Choice embodies this defiance of traditional rules, delivering a story that feels both distinctly Korean and universally resonant — reasserting Park’s authority at the helm of both Korean cinema and global filmmaking writ large.
THE FILM NO OTHER CHOICE TOOK OVER 20 YEARS TO PRODUCE FROM WHEN YOU FIRST READ THE BOOK, THE AX. WHY DID THIS BOOK STICK WITH YOU? WHAT LED TO THE DELAYS IN THE FILM COMING TOGETHER?
Park Chan-wook: I started reading this novel as a fan of author Donald E. Westlake’s works, rather than setting out to find something to adapt, necessarily. When I first read The Ax, I was struck by its humor. Rather than the humor being visibly upfront, I would say the story lent itself to the potential for humor. I thought that if this story were portrayed in the format of a film, it would be quite funny — I appreciated the absurdity of its irony.
The protagonist is fired from his company, but the solution he chose to solve this problem was to create a fake company, post job openings, and review resumes – things that companies typically do, right? And they recruit top talents through these processes. Up until that point, Man-su’s actions are the same as a company’s. But while companies hire employees, the protagonist seeks these talents out and kills them.
While killing may seem counterproductive, it is quite similar to being fired by a company. So in some ways, killing is a parallel act. I’ve had that thought many times. This man who lost his authority and confidence, was weak and in a state of despair, committed several murders. And that very confidence that he had lost soon returns.
WHAT INSPIRED YOU TO ADD YOUR OWN DARK COMEDIC TWIST TO THE ORIGINAL STORY? DOES HUMOR AID IN THE DELIVERY OF BLEAK SUBJECT MATTER?
PCW: Humor — not only with this film — is an element I consider very important. It’s deeply intertwined with emotions like tragedy, tension, thrill, and horror. Humor can aid in watching these emotions a bit more comfortably, but that is not how humor is used in this film. Rather, it’s used in the opposing manner, in moments where it’s least expected. Through humor, sad moments feel sadder, scary moments feel even scarier.
HOW DO YOU APPROACH ADAPTING WORKS OVERALL? I’M AWARE THAT THE AX INSPIRED THIS FILM, BUT COULD YOU FURTHER EXPLAIN YOUR PROCESS IN ADAPTATION?
PCW: It’s different in each case. The director Kim Ki-young, whom I respect, once said that if more than 30% of the original work remains, it’s a failed adaptation. I’ve heard him say that, but I don’t quite agree to that extent. Particularly, with the adapted TV series I directed, The Sympathizer (2024), you’ll notice the story has been altered significantly. Of course, there are details, specific lines, and many parts that have carried over from the original work, but there are quite a few plots, specific events, and characters that have been altered.
With The Ax, the original work ends without a clear resolution, where it’s unclear what happened. After reading the novel, I thought that in a film it would be better if the audience knew the outcome. One of the things I like the most is futility — the idea that one went through such lengths, but it all evaporated like bubbles in the end. So I changed the story a bit in that way.
“I use humor in moments where it’s least expected — to make sad moments feel sadder, scary moments feel even scarier.” – Park Chan-wook
RIGHT, THROUGH THE ENTIRETY OF THE FILM, MAN-SU TELLS HIMSELF THAT HE’S MAKING THESE CHOICES ON BEHALF OF HIS FAMILY. BUT IRONICALLY, THOSE VERY ACTIONS END UP MAKING HIS FAMILY SUFFER. ARE THERE ANY SPECIFIC INFLUENCES ON YOUR SENSE OF HUMOR IN FILMMAKING?
PCW: I find Vladimir Nabokov’s works to be quite entertaining, and I often laugh as I read Franz Kafka’s works as well. Recently, I attended an audience Q&A for our film moderated by actor John Turturro and I stated that Barton Fink, the 1991 Coen Brothers movie he starred in, was an influence. When I first watched that film, I felt that it perfectly matched my taste.
PERSONALLY, THIS FILM FELT BOTH LIKE YOUR MOST COMEDIC FILM, AS WELL AS YOUR MOST ANTI-CAPITALIST. THERE’S A SORT OF IRONY WHEN EXAMINING THE LENGTHS TO WHICH HUMANS WILL GO TO PROTECT A SYSTEM THAT CONFINES THEM. WHERE DO YOU THINK SOCIETY IS HEADED? DO YOU BELIEVE THERE IS TRULY “NO OTHER CHOICE”?
PCW: I think Man-su didn’t really know the system from the start. He wanted to help his colleagues but I’m not sure he is someone who knows how to put everything aside and really fight the system, if you will. The decision he made was to find people quite like him, instead of fighting his enemies. Man-su’s dilemma is that he has no criminal experience and has made a decision to commit mass murder. In order to do this task, he needs to continue observing his victims, and in so doing, becomes friendly with them. Man-su truly befriends his last victim and even contemplates to himself how he will go about killing this man. I think his decision-making shows a very defeatist point of view. This film ultimately shows a defeatist point of view towards the possibility of a true vision for revolution against this system. It shows how submissive people yield to a system of capitalism and capitalism’s strength.
HOW WOULD YOU DESCRIBE THE FILM’S STYLE AND AESTHETICS? IS THERE A MOMENT IN THE FILM YOU PERSONALLY LIKE THE MOST?
PCW: I suppose what mattered most was taking two opposing, conflicting ideas — pairs that clash with each other — and connecting them as if they were one. After finishing the shoot and looking back, for example: work and family; plants and animals; an act of murder and, at home, a kind of familial harmony — or affection — between family members. Visually linking those contradictions into a single thread felt important. In that sense, the scene that expresses it best, for me, is in the latter part of the film: Miri, played by Son Yejin, is digging in her yard — under an apple tree — because she wants to know what’s hidden there. At the same time, Man-su is digging at Sun-chul’s house — the character played by Park Hee Soon — because he’s about to bury him there.
Those actions form a sequence of continuous match cuts, intercutting back and forth. And right after that, there’s a phone call between the two of them — also crosscut. Through compositing and computer-graphics compositing, it’s made to look as though they’re in the same place, so that the murder scene and Man-su’s home are integrated as if they were a single space. We used that kind of editing a lot. I think that’s the scene where my concept is most fully realized.
THE FILM’S STORY IS TIMELESS — IN MANY WAYS, IT’S EVEN MORE IMPACTFUL TODAY IN THE MIDST OF AI’S RAPID GROWTH, JOB LOSS, AND ECONOMIC ISSUES GLOBALLY. DID ANY OF THESE SOCIETAL THEMES MAKE THE FILM’S DEVELOPMENT FEEL MORE URGENT?
PCW: From the moment I first read the novel and had the thought to adapt it into a film, these issues have never subsided. Whether it was in meeting and speaking with people in the United States, Korea, or even France, everyone across all generations has felt more and more that this story is universal.
THE CAST IS ABSOLUTELY START STUDDED WITH KOREAN CINEMA LEGENDS. FROM THE LEAD CHARACTERS — PORTRAYED BY LEE BYUNG HUN AND SON YEJIN — TO THE RICH BEVY OF CAMEOS FROM KIM HAE-SOOK, OH DAL-SU, AND YOO YEON-SEOK. WHEN YOU CAST AND WRITE CHARACTERS, DO YOU TEND TO HAVE A PARTICULAR ACTOR IN MIND?
PCW: It’s not very often that I have an actor in mind before I start writing the screenplay. When I wrote the screenplay for Decision to Leave (2022), for instance, I did think of the actors Park Hae-il and Tang Wei which was a bit against the norm for me. With No Other Choice, I originally started the project with an American film in mind, but decided it would be better suited as a Korean film. The moment I made that decision, I immediately thought of the actor Lee Byung Hun for the protagonist role.
After writing the screenplay, I discussed with Lee Byung Hun who would be a good fit for the role of Miri. Actress Son Yejin was his idea. As I was debating who would bring the character Ara to life, I saw actress Yeom Hye Ran at an award ceremony up close and thought she was so impressive and would be a natural and confident fit for the role. With actors Lee Sung Min or Park Hee Soon, I’d always thought I’d want to work with them one day. My concern was whether they’d be interested in acting in roles that were not lead characters but I was grateful to complete the cast with these great actors.
YOU WORKED WITH ACTOR LEE BYUNG HUN FOR THE FIRST TIME IN 1999 ON THE FILM JOINT SECURITY AREA (JSA). HOW WAS IT WORKING WITH HIM AGAIN AFTER SO MANY YEARS? HAS YOUR WORKING CHEMISTRY TRANSFORMED IN ANY WAY?
PCW: When working on JSA, we were only focused on the project and were nervous. We both believed, “If this project fails, we are in big trouble.” Of course, every project is like that, but both Lee Byung Hun and I thought that if there wasn’t a solid response to JSA, neither of us would ever be able to work on a film ever again. Lee Byung Hun was already a TV star of his own right, but hadn’t had a major film success yet. Because of that stress to make the project successful, I wouldn’t say it was necessarily stiff, but we only ever spoke about work when we met. After the success of that film, and after building our careers through the years, we were able to maintain a brighter relationship with both earnest hard work and jokes this time around.
“One of the things I like to examine the most is futility — the idea that one went through such lengths, but it all evaporated like bubbles in the end.” – Park Chan-wook
HOW WOULD YOU DESCRIBE THE STYLE OR FASHION AESTHETICS OF NO OTHER CHOICE? DID YOU INTEND FOR THE COSTUMES AND STYLING TO ADD ADDITIONAL SUBTEXT TO THE FILM’S NARRATIVE?
PCW: I’m not sure there’s one simple way to define the style of the film. But with Man-su, he is a line manager at a factory who considers himself a blue-collar worker. Man-su isn’t someone with several years of college education or a multi-academy background like some of his competitors. Man-su graduated from high school, worked late even on weekends, and studied hard to refine his skills at a university after hours. He has this kind of mindset so that is why he is friendly with his colleagues. I wanted to portray that in his style and clothing choices.
SPEAKING OF STYLE, I HEARD YOU PREFER TO WEAR TRENCH COATS TO SET. WHAT IS THE INSPIRATION OR REASON FOR THIS? DO YOUR FAVORITE DIRECTORS ALSO HAVE THEIR OWN SENSE OF STYLE?
PCW: I used to wear trenchcoats quite a bit in the past, but these days, I wear whatever I want. Directors of the past — whether from our country, Europe, or the United States — back in the black-and-white era of filmmaking, they used to wear a suit and tie to set. I think it’s quite cool when I see those photos and I want to imitate them, but I cannot. It would be a bit uncomfortable and require quite a lot of extra preparation. I guess I could do those things if I wanted, but I don’t want to look overly fussy. Anyway, I try to avoid wearing shorts and sandals to set [laughs].
WHEN DISCUSSING THE FILM’S VISUAL UNIVERSE WITH YOUR LONGTIME PRODUCTION DESIGNER RYU SEONG-HIE AND COSTUME DESIGNER CHO SANG-KYUNG, WHAT IDEAS DID YOU HAVE IN MIND? WHAT IMAGES WERE ON THE MOODBOARD?
PCW: First of all, the house – Man-su’s family house – was the most important thing. One of the main reasons Man-su makes all of his decisions in the film is because the house is something he deeply wants to avoid losing. There is a greenhouse attached which Man-su built himself. He loves plants so much that his wife Miri teases him with, “You’re a plant human.” So it was really important. Not only aesthetically, but also to a degree where the audience would be able to sympathize with the protagonist.
It took a long time to find this house. Even before we started filming, I activated the location scouting team to begin their search because I anticipated that it would be very difficult to find the right house. We added some new features to the house we found, as well. The art team added things like the wavy concrete block, the garden was completely created anew, and the greenhouse was added. All of these changes were made to reflect and better suit Man-su.
“Korean films defy conventions as they fuse genres, developing in a manner that is unexpected for the viewer.” – Park Chan-wook
LET’S TALK ABOUT THE STATE OF KOREAN CINEMA. WHAT QUALITIES DEFINE SOUTH KOREAN CINEMA TODAY? WHY DO YOU THINK KOREAN CINEMA RESONATES SO DEEPLY WORLDWIDE?
PCW: Korean films are quite rich in emotion. There is an abundance of different emotions within Korean films and they can be quite volatile, powerful, and stimulating as a result. I don’t think this is necessarily a good thing all the time. Of course, there are good movies in this world that flow more quietly and less expressively. But the Korean films that viewers tend to like are quite like that. And even if we say that films fall within a certain genre, many Korean films are not conventionally one genre. Sometimes there are several genre changes within the same film and Korean films defy conventions as they fuse genres, developing in a manner that is unexpected for the viewer.
OVER THE COURSE OF YOUR CAREER, WHAT’S BECOME EASIER OR MORE DIFFICULT ABOUT MAKING FILMS?
PCW: I’d say communication with actors has gotten easier. In the past when I met stars, I was afraid and nervous. I was worried about whether they would not agree with my opinion or appreciate what I was doing. But now, I understand that the other person also has these same concerns and fears as I do. Rather than trying to look like I’m very good at something, I am OK with admitting what I do not know and asking the other what they think about an issue that I haven’t quite figured out yet. I like to openly convey these thoughts and communicate to solve the problem together.
As for what’s gotten harder. When I was younger, I thought less about what the audience might want and focused more on what I personally wanted to do. Now, I wonder a bit more about the audience and how they might feel. For instance, would the audience get bored in a certain scene, not understand a scene, or remain curious about the next scene? These types of concerns now enter my mind.
WHAT TYPE OF THEMES OR STORIES DO YOU HOPE TO EXPLORE NEXT?
PCW: There are a few projects that I have been preparing for a while. One is a sci-fi action movie and one is a Western revenge film. Both are American films. Like No Other Choice, they have been in development for a long time. Now that No Other Choice has been released, I have more strength to take on these projects again.
