In her directorial debut, Mee-Jeung submerges the audience in an often sinister world, in which young women consigned to court service are subject to harsh discipline and sadistic rituals. What men they have limited contact with appear weak and decadent. The king reigns supreme of course, but through proximity to him comes real influence. As Palace opens, the Queen is engaged in a deadly serious power struggle with her rival, Hee-Bin, the king’s favored concubine. As the mother of the king’s only son thus far, she stands to secure her position if the king declares him the royal heir. However, her efforts are jeopardized by the murder of her chamber maid.
Needless to say, scandal is to be avoided at all costs, so Chun-Ryung, the court nurse, is under great pressure to sweep the affair under the rug. In defiance of her own interests, Chun-Ryung becomes a reluctant sleuth, pursuing the case (officially deemed a suicide) as suspicion falls on highly placed members of the court.
Palace is a well-crafted period mystery, featuring some great performances, starting with Park Jin-Hee as the nurse-investigator. However, some of the abuse meted out on the young maids is literally painful to watch. (Let the squeamish be warned, you might be more comfortable in Tokyo Gore Patrol.) Still, the cinematography and production design are creepily effective, allowing for elements of horror to creep into the mystery, even including the archetypal image of the terrifying woman with long, flowing tresses.
Palace is a smart, compelling film. While uncomfortably graphic at times, its images last well after viewing. It screens this Friday and next Tuesday, as part of NYAFF.
