Movies

Unraveling the Shocking Twist in Netflix’s Korean Thriller ‘Revelations’!

BBG News

In the third act of the Korean Netflix thriller “Revelations“, there’s a suspenseful scene that lasts in one continuous take. The main character, pastor Sung Min-chan (known from shows like “Reply 1988” and “Alienoid” played by Ryu Jun-yeol), has Kwon Yang-rae (Shin Min-jae) and detective Lee Yeon-hui (Shin Hyun-bin) bound on the uppermost floor of a construction site destined to become a huge church. Convinced that God is guiding him, Min-chan intends to murder Yang-rae for what he believes is A-yeong’s death in the church, and then pin the crime on Yeon-hui.

On March 21, the psychological thriller unfolds a tense climax, an unexpected turn from its initial calm portrayal of Min-chan as a gentle pastor helping his diminishing congregation. Director Yeon Sang-ho meticulously worked on this crucial scene, sharing with TIME, “During the storyboarding phase, I considered splitting it into multiple cuts. However, while filming, I realized this was a pivotal moment for the trio, and I needed something extraordinary.” The cast and crew rehearsed the scene twice before attempting the single, uncut take. As they filmed more takes, Yeon noted that their camaraderie improved, and the authenticity of the scene became more palpable. He expressed his satisfaction with the final result.

The setting presents a pivotal instance for the narrative of “Revelations”, where three individuals find profound significance in the omens and emblems they encounter, leading them to justify their at times appalling deeds. For Pastor Min-chan, a lightning flash revealing a cross etched on a cliff is divine approval to chastise Yang-rae. For Yang-rae, recognizing a window resembling the one that tormented him in his abusive childhood home strengthens his resolve to commit another kidnapping. For Yeon-hui, recurring visions of her deceased sibling compel her to apprehend Yang-rae before he harms anyone else.

In her own words, Yeon expresses a fascination with the vulnerability of humans and how this vulnerability often leads to failure. This theme has been a recurring one in her work, as seen in projects such as the Netflix series “Hellbound” and the 2013 animated feature film “The Fake.

The concept for “Revelations” emerged during a conversation between Yeon and frequent collaborator Choi Gyu-seok while brainstorming for “Hellbound” Season 2. As they discussed, they stumbled upon the term “pareidolia,” which refers to our brain’s tendency to perceive patterns or meaningful images in random data. In “Revelations,” this phenomenon is explained by a psychologist character, where it is depicted as people literally seeing things like shapes in clouds and then attributing significant meanings to them.

Yeon expresses that there’s a behavior unique to humans, which he finds fascinating, and he wanted to delve into this topic. However, this idea didn’t fit within the narrative of Hellbound, a story set in a universe where cosmic creatures are proven to exist. Instead, they crafted a 2022 comic based on this concept, which would eventually become the basis for Revelations. We’ll explore how this human trait unfolds unexpectedly in Revelations, and what it signifies.

What happened to Yeon-hui’s sister?

In the past, before the story unfolds, Yeon-hui’s beloved younger sister, Yeon-ju, was abducted and brutally mistreated by Yang-rae. Despite managing to free herself, the harrowing experience led to her tragic suicide due to the emotional trauma. At that moment, Yeon-hui, who was pursuing a career as a police detective, carries the guilt of not being able to save her sister in time. Although they spoke over the phone during those dark days, Yeon-hui failed to connect the dots quickly enough. Yeon-ju had hoped that Yeon-hui would rescue her, but help never arrived.

During Yang-rae’s trial, the judge shows compassion due to the harsh childhood abuse he endured, which is revealed in his sentencing. In a scene from the trial, Yeon-hui angrily confronts Yang-rae’s therapist for providing psychological insights into Yang-rae’s actions, seemingly prioritizing Yang-rae over her sister’s mental health. After both Yeon-ju’s demise and Yang-rae’s release from prison, Yeon-hui struggles with guilt and the need to seek justice for her sister’s pain. This is why we find her stalking Yang-rae at the start of the movie.

Does Min-chan kill Yang-rae?

Initially, Min-chan appears to be an unlikely perpetrator of murder, as demonstrated when he warmly receives Yang-rae, a man with an ankle monitor, into his church. However, after enduring a particularly challenging day that includes discovering his wife’s infidelity and being passed over for the position of pastor at a new church in the neighborhood, Min-chan’s actions gradually lead to Yang-rae’s demise, although not immediately. Despite his desire for congregants, he holds a genuine belief that God’s grace extends to all, regardless of their transgressions. But this compassionate outlook is shattered following his unfortunate day.

In the movie, the initial altercation between Min-chan and Yang-rae occurs quite early on. Following a phone call from his wife informing him that their child had been taken by an unknown man from daycare, Min-chan, who has become wary of Yang-rae, tracks him down to a secluded rural road. Believing Yang-rae, a former convict, was responsible for kidnapping his daughter, he tails him. When Yang-rae stops his truck and questions why the pastor is chasing him, Min-chan discovers that Yang-rae’s ankle monitoring device is absent, leading to Yang-rae attacking him.

In this account, I found myself compelled to defend myself when threatened by Yang-rae. Unfortunately, during our altercation, Yang-rae lost his footing and tumbled down a steep hill, striking his head against a rock. Overwhelmed by the gravity of what had happened, I hesitated, fearful that I may have inadvertently caused harm to him. In that moment, I made a decision that I believed was guided by a higher power, pushing Yang-rae’s body into a nearby ravine to conceal the incident. It was only later that I discovered his daughter was safe.

In the following sequence, it becomes clear that Yang-rae has miraculously endured a blow to the head from a rock and a fall off a cliff, despite sustaining severe injuries. He manages to navigate his way to a nearby nursing home. However, this facility is frequently visited by Min-chan’s wife and a group of pastors’ wives. When Min-chan drops his spouse off at the institution, he discovers Yang-rae there and decides to abduct him. Instead, he takes Yang-rae to the construction site of their new church. “This isn’t my intention,” Min-chan explains to the injured Yang-rae, as he wheels him away, “It is all God’s will.

In an effort to secure his own survival, Yang-rae proposes to Min-chan that he’ll disclose the location where he has hidden the girl, A-yeong (who he has kidnapped), but only if Min-chan contacts the authorities. Min-chan is reluctant because this would also imply his arrest for the crimes he has perpetrated against Yang-rae. He postpones making a decision and, abandoning a restrained Yang-rae, heads to the church to conduct a candlelight vigil for A-yeong instead.

During this interlude, Yeon-hui takes advantage of the moment to gather her thoughts and locate Yang-rae and Min-chan at the location of the upcoming church. She manages to reach the site before Min-chan returns, allowing her to contact her police associates. However, a spectral image of her deceased sister attempts to persuade Yeon-hui into executing Yang-rae personally. Yang-rae defends himself by relaying the same message to Yeon-hui that he communicated to Min-chan: if she kills him, they may never recover A-yeong. In a moment of indecision, Yang-rae reminds Yeon-hui of the numerous unstable individuals in their surroundings.

Before Yeon-hui has a chance to respond, Min-chan comes back and knocks her unconscious. Upon regaining consciousness, Yeon-hui finds herself listening to Min-chan’s chilling plan: he intends to shoot her and then shove Yang-rae off a building, making it appear as if Yang-rae killed her in a struggle and leaped to his death afterwards. Min-chan believes that A-yeong is dead, and that Yang-rae was the one who murdered her. In a panicked voice, he accuses Yeon-hui of being blind to this truth. Convinced that Yang-rae embodies evil and that more lives will be at risk if he’s not eliminated, Min-chan justifies his past and future actions by claiming divine revelation as the reason for his choices.

In this scenario, when Min-chan attempts to shoot Yeon-hui, she swiftly avoids the bullet and they engage in a struggle. With assistance from Yang-rae, he tosses a handsaw towards Yeon-hui, allowing her to subdue the pastor and handcuff him to a pipe. Yet, during the fight, the chair Yang-rae was tied to gets entangled with some building supplies. As these supplies go over the edge of the building, Yang-rae unfortunately falls off as well. In an attempt to save him, Yeon-hui grabs the duct tape binding his ankles but can’t hold on indefinitely or pull him up. Just before Yang-rae plunges to his death, he whispers a hint about A-yeong’s whereabouts to Yeon-hui: “The girl… the one-eyed monster consumed her.

Who is the One-Eyed Monster?

In Yang-rae’s therapist’s opinion, the one-eyed monster could represent either Yang-rae’s stepfather or Yang-rae himself, given its strong connection to his traumatic childhood memories. To Yeon-hui, he explains that the monster embodies these distressing recollections. Regardless of what Yang-rae personally perceives as the one-eyed monster, it is activated by a distinct architectural detail: an oculus window. This type of window was present in the house where Yang-rae lived and experienced daily abuse at the hands of his stepfather. Interestingly, Yeon-hui’s sister had a similar window in her flat, and one can also be found in the building where A-yeong is being detained. It was this trigger that led Yang-rae to abduct both women, as he succumbed once more to his trauma-induced hallucinations.

Does Yeon-hui save A-yeong?

After Yang-rae passes away, it becomes clear to the audience that A-yeong is indeed still living. However, she finds herself bound in a house scheduled for demolition, leaving the police with few leads following Yang-rae’s death. Seeking more information about Yang-rae and the “one-eyed monster,” Yeon-hui consults her therapist. The therapist assists Yeon-hui in dealing with her feelings of guilt towards her sister, clarifying that it’s not truly her sister but an illusion born from her guilt. Despite the therapist’s assistance, they fail to solve the case. Instead, it is Yeon-hui’s father who ultimately uncovers the truth.

As I cradled my phone, a timely conversation with Yeon-hui’s father unfolded, revealing his discontent over house renovations, casually mentioning a “one-eyed entity.” A lightbulb flickered in Yeon-hui’s mind as she connected the dots between this mysterious being and Yang-rae’s encounters.

With her badge as her guide, Yeon-hui delved deep into the labyrinth of her police department, unearthing clues that led her to the location where A-yeong was being held captive. In a race against time, she successfully rescued A-yeong before the building met its doom. This heroic act allowed A-yeong’s freedom, something Yeon-hui had been unable to secure for her own sister—and in doing so, she shattered the chains of her own illusions.

How does Revelations end?

In the movie’s last part, we find A-yeong thriving, while Yang-rae has passed away, and Min-chan is behind bars for his offenses. During a visit with Min-chan, Yeon-hui shares that A-yeong is still alive. This revelation appears to shatter Min-chan’s belief that all his actions were orchestrated by God. Yet, upon returning to his cell, he continues to perceive an image of Jesus in the wall stains. He soaks a rag and attempts to clean it off, tears streaming down his face. The reason for Min-chan’s behavior in this scene is not explicitly clear, but it seems that he feels regret for his past actions. It remains uncertain whether what Min-chan experienced were divine messages, manipulations of the devil, or just figments of his imagination; however, he now wishes to be free from these visions.

What does the ending of Revelations mean?

The fundamental idea conveyed in Revelations is articulated by the therapist, who explains to Yeon-hui: “Many life tragedies stem from a mix of circumstances beyond our control. Concepts like the devil and monsters are often human inventions used for self-justification.” However, Yeon subtly left room for various interpretations, including supernatural or cosmic explanations. This ambiguity was particularly noticeable in the early part of the movie, where it remains unclear whether A-yeong is actually alive. “I aimed to stimulate audience curiosity and challenge their beliefs,” he explains.

As a film enthusiast, I found myself captivated by a movie that delves deep into the realms of religion and belief. In this cinematic journey, director Yeon cleverly intertwines instances of serendipity, most notably when Yeon-hui’s father makes that fateful call, providing our detective with the crucial information needed to save A-yeong just in time. Reflecting on my creative process, I shared, “I aimed to give viewers the freedom to interpret these moments according to their own perspectives.” Embracing the magic of cinema, it’s about testing your convictions and contemplating your personal views on various topics.

As I delve into the gripping world of “Revelations,” I find myself compelled to share my thoughts as a movie critic. While this crime thriller is deeply rooted in Korean culture, its narrative feels strikingly universal and real. Director Yeon emphasizes that the local setting – Korea itself – plays a pivotal role in the story’s authenticity, yet he expresses concerns about its potential appeal to global audiences.

However, Alfonso Cuarón, the esteemed Mexican director serving as an executive producer on the film, alleviates these worries. Cuarón, understanding the core message that Yeon aims to convey, offers reassurance that “Revelations” transcends cultural specificities and resonates with audiences worldwide. This tale, according to him, is not only relevant to Korean people but also has the power to touch hearts globally.

In an interview, Yeon mentioned that his animated film “The Fake” was his first exploration of organized religion as a possible cause of decline in the past decade. When asked if he might revisit the world portrayed in “Revelations” or the broader theme of religion in his work, he suggested it could be another 10 years before he feels ready to tackle the subject again, stating that time is necessary for him to gather fresh perspectives.

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2025-03-21 01:07

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