By doudou6 
While the final outcome may be slightly disappointing, just having the chance to star in a “great film” is already quite rare. Observing Tang Wei’s confident demeanor at Cannes makes it clear she has always been an actor worthy of bigger platforms and more opportunities. It also underscores that her talent and hard work naturally don’t align with mediocre roles.
Certain exceptional actors conquer both mainstream and niche audiences through various roles. However, their most iconic screen portrayals undoubtedly capture moments of their “true selves.”
Seeing Tang Wei evokes memories of Xiao Hong (萧红), Wang Jiazhi (王佳芝), Anna from “Late Autumn,” and perhaps even Wan Qiweng from “Long Day’s Journey Into Night.” These characters embody what fans often say:
“She is Tang Wei!”
Even though this time she worked with Korean director Park Chan-wook (朴赞郁), true cinephiles will rejoice at seeing such a talented actress collaborate with an equally talented director.
Female characters in Park Chan-wook’s films share certain traits. On one hand, they’re viewed through a male director’s lens; on the other hand, they possess enough allure combined with childlike innocence and destructive power.
In his “Vengeance Trilogy,” “Lady Vengeance” stands out as most indicative. While his earlier works lacked female consciousness, later films like “Stoker,” “Thirst,” and “The Handmaiden” elevate female energy above male counterparts.
These characters embody both destruction and revenge; they especially do not suppress their desires quietly.
Before Tang Wei came along, Park’s films featured Lee Young-ae (李英爱), Kim Min-hee (金敏喜), and Bae Doona (裴斗娜). Even without Park’s films, these actresses rank among Asia’s top tier. Early viewers of “Decision to Leave” found themselves surprised by how purely romantic it was—a stark contrast to the violent elements typical of “Oldboy,” making it feel uncharacteristic for Park.
However, looking back at his previous works reveals that all his movies blend romance with genre elements—even if not overtly about love—there’s always something brushing against it.
For example, “Joint Security Area” touches on brotherhood while “The Handmaiden” explores master-servant romance—gender boundaries notwithstanding. Yet on another level, “Decision to Leave” remains profoundly erotic—a hallmark of Park’s style.
Though explicit sex scenes are absent from this film, it doesn’t detract from its eroticism because Hae-jun (海俊) and Seo-rae (瑞莱) share a desire-laden love story embellished with sexual metaphors under Park’s direction.
Their relationship might remain unfulfilled or unacted upon but never lacks depth beyond mere rationality within love.
A policeman paired with a murder suspect provides enough contrast for mutual intrigue—the murder case serving as adhesive binding them together tightly while handcuffs further emphasize emotional tension.
