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This tantalising visual atmosphere is at the heart of the film’s storytelling, which forgoes dialogue for long periods in favour of cameras that linger ponderously on the house’s mysterious objects: an intricately decorated cabinet, a deserted dining table, and the flickering white fuzz of a scrambled television set among the most evocative. Set almost entirely within a gothic-style mansion in the Korean countryside, A Tale of Two Sisters readily recalls Stanley Kubrick’s The Shining, with disorientating tracking shots traversing looming corridors, William Morris wallpaper, and ornate furnishings within a sumptuous interior setting. Much like Donnie Darko, it is a puzzle-like mystery that rewards repeat viewings – initially drawing in the viewer, before wrong-footing them entirely. SUMPTUOUS VISUAL STORYTELLING Lined with twists-upon-twists Kim Jee-woon’s captivating breakthrough lit up the Korean box office in 2003 with its multi-layered blend of haunted house horror, psychological trauma, and blurred realities. Worse yet, a series of mysterious and nightmarish incidents inside the house rattle the sisters, and as relationships become strained a series of shocking revelations point towards a dark and unexpected conclusion.

Despite the idyllic setting, the sisters repeatedly clash with stepmother Heo Eun-joo, while their father comes across as aloof and disconnected. A Tale of Two Sisters is the story of Su-mi and Su-yeon, two young siblings who return to their countryside home having spent time in a mental institution being treated for psychosis.