Introduction
The Housemaid is set almost entirely in a rich man’s modern mansion and focuses on his nanny. It involves a man, wife, daughter, housekeeper, and mother-in-law. In this closed environment, the husband buys his power with money and subordinate ladies.
Unsettling events are inevitable. In Hoon’s family, the nanny Eun-yi causes an imbalance. Hae- is satisfied with dwelling in luxury idleness and reading consumer magazines. She’s pregnant with twins and focuses on them. Mrs. Cho hates the family yet works efficiently. The wife’s mother is happy her daughter married nicely and wants her to be happy.
Eun-yi is submissive, efficient, and beautiful. We only know that she requires the job. She’s in awe of the man who plays the perfect classical piano and drinks rare vintages after work. His wife browses couture. Their daughter is a secret, well-loved but unnecessary. The maid and daughter bond because they’re the only ones with affection to give.
The spouse will inevitably seduce the maid. Even when the maid complies and seems to like it, it’s seduction and coercion. If only one person can set the terms, it’s a terrible deal. Mrs. Cho observes everything that happens. Housemaid’s pregnancy is revealed.
As long as the spouse receives everything he pays for, it’s no problem for the others. His wife and her mother are favourites. The housemaid launched a new market with unknown producers and negotiable rates. If you’re out of sugar, don’t mention Sweet ‘n’ Low.
Im Sang-cool, soo’s graceful cinematography and serpentine visuals describe the story. The predominant mood is dark, with sadomasochistic undertones. Pourquoi? We don’t know what will trigger the explosion.
Who’s at risk? Who wins? Whose private plan isn’t known? Will everyone do as the husband asks? In the final series of pictures, one character’s reply answers all of these issues.
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