The slasher genre has long been a cornerstone of horror cinema, terrifying audiences with its iconic villains, suspenseful storytelling, and gruesome kills. From the masked killers of Halloween to the supernatural terrors of A Nightmare on Elm Street, slashers continue to draw viewers into their blood-soaked worlds.

At the heart of the slasher genre lies the villain. Characters like Michael Myers, Freddy Krueger, and Jason Voorhees have become cultural icons, each with their own distinct look and modus operandi. These villains represent the fears and anxieties of their respective eras, becoming powerful symbols of terror for generations of moviegoers.

While slasher films are not popular in South Korea, likely due to domestic audiences favouring films with different subject matter, one particular work has captured my attention: Yeon Je-gwang’s feature debut, The Guest. Premiering at last year’s Busan International Film Festival, the film found its way to Europe where it was screened at the 26th Far East Film Festival in Udine, Italy. 

In the middle of nowhere is a love motel, where lonely people meet, seeking clandestine encounters or illicit transactions. Two young men, Min-cheol (Lee Ju-seung) and Young-gyu (Han Min), are disheartened employees burdened with the tedious work of maintaining the rundown motel. Compounded by mounting debts, they reluctantly engage in the illegal side hustle of secretly filming guests engaged in intimate acts. One night, a mysterious visitor (Jeong Soo-gyo) arrives at the motel carrying a woman on his back. To capture salacious footage, Min-cheol assigns the couple to room number 301. However, things take a dramatic turn when they witness a murder, forcing them into a moral quandary. Confronted with the dilemma of either concealing the crime to safeguard their illegal activities or risking their safety by reporting it, Min-cheol and Young-gyu find themselves trapped between the devil and the deep blue sea.

Evidently inspired by Hitchcock’s Rear Window (1954), Yeon adopts more thematic motifs of voyeurism and the moral ambiguities inherent in witnessing and participating in violence. At the outset, Min-cheol, initially an outsider and observer, willingly inserts himself into the developing events, thus placing himself in peril. Yeon also pays homage to classic slasher films in its depiction of violence, however, it’s hard to point out which one.

But it’s not just the villains that make The Guest so compelling. With its suspenseful storytelling, featuring a cat-and-mouse game between the killer and their potential victims, tension builds as audiences are kept guessing who will survive until the end, leading to edge-of-your-seat thrills and nail-biting uncertainty. 

Set within the claustrophobic settings of a motel, every actor delivers, with Jeong Soo-gyo embodying the heartless villain flawlessly and Lee Ju-seung shining as the voyeur. Han Sang-kil’s cinematography masterfully employs a palette of dark bluish colours, effectively enveloping the audience in an atmosphere of foreboding and suspense. Each shot is brilliantly made to heighten the tension and accentuate the film’s gritty aesthetic, creating a haunting visual experience. 

The Guest, while fitting into the slasher genre, also sheds light on the pervasive issue of illegal filming, a significant problem in South Korea. This extensive practice extends beyond fictionalised scenarios, reflecting a troubling reality in Korean society. By addressing this issue, The Guest is not only a gripping thriller but also a valid commentary on the urgent need to address illegal filming and protect individuals’ privacy rights.

The Guest stands out as a great addition to the aforementioned genre, delivering an absorbing tale set within a confined space. It keeps viewers on the edge of their seats until the very end. Without a doubt, Yeon’s feature debut demonstrates his ability to bring innovation to the slasher genre, provided he remains committed to it.

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Written by Maggie Gogler

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