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A visual stylist par excellence, whose penchant for violence is matched by a mastery of atmosphere and fascination with moral ambiguity, Park Chan-wook is the most celebrated of the South Korean directors to emerge from the country's cinematic boom of the late 1990s. Originally a film critic, director Park's early features are entertaining, but lack the authorial stamp of his later work. His breakthrough came with the short 'Judgement' (1999). A dark satire, it referenced the Sampung department store collapse in 1995 which led to the deaths of over 500 people. Then came the acclaimed Vengeance trilogy: 'Sympathy for Mr. Vengeance' (2002), 'Oldboy' (2003) and 'Lady Vengeance' (2005) each deserves attention for its exploration of morality and our basest desires. His audacious take on the vampire myth 'Thirst' is the filmmaker's personal favourite of his work to date and cemented director Park's reputation as one of contemporary cinema's leading filmmakers. Park Chan-wook captures the intoxicating atmosphere of the Deep South gothic in 'Stoker' (2013), while 'The Handmaiden' (2017) is a marvellous, labyrinthine narrative of twists, turns and double-dealings. Based on Sarah Waters' novel 'Fingersmith', Park transposed the action from Victorian London to 1930s, Japanese-occupied Korea.