Best-known for 2003’s Oldboy and too overlooked for 2016’s baroque chamber drama The Handmaiden, Park Chan-Wook has been leaving filmmakers across the globe sprinting after his coattails for years. Cynical without succumbing to self-seriousness, politically astute but never hammy, and a brilliant stylist devoted to evocatively rendering each of his genre-inflected tales, it seems only […]