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Rich white people are very strange. If our current sociopolitical climate wasn’t evidence enough for you of that sentiment and you needed more convincing, then may we suggest watching Park Chan-wook’s 2013 psychological thriller, Stoker.

Starring Mia Wasikowska, this film follows the story of India Stoker who, after her loving father passes away tragically in a supposed car crash, is left with her cold and somewhat unstable mother, played by Nicole Kidman, in their creepy mansion. It’s not long before another character enters their lives, leaving India confused, suspicious, and questioning her thoughts and beliefs. Side note: I feel like Nicole Kidman has been playing the fucked up mother/wife for the past two decades and I am all for it because she kills it every time. 

If you’re not familiar with Chan-wook’s past films, just know the man has a thing for telling stories of messed up familial relationships (*cough* Oldboy *cough*). On a serious note, though, the man is tremendously gifted behind the camera and his technical prowess is showcased in full force in Stoker. Some of the shots in this film are immaculately beautiful, serving to evoke feelings of unsettling tension while creating this ominous and intense atmosphere. 

From Oldboy to Lady Vengeance to Decision to Leave, Park Chan-wook has a stylish flair that’s unlike any director, and it’s no different here. His ability to film certain character interactions and precisely edit them to where so much story and subtext is being told without dialogue will always be captivating. And much like his other works, his staple of creating some incredibly steamy, albeit uncomfortable, erotic tension between characters that definitely shouldn’t be feeling what they’re feeling, is very much here. Stoker is an intense, compellingly uncomfortable, and beautifully moody piece of filmmaking with messed-up characters performed perfectly by a strong cast, and directed by one of Korea’s finest.