2016’s The Handmaiden is unusual among contemporary Korean films for more than one reason. Firstly, we have an explicitly queer, in fact erotically queer narrative from a country where LGBT rights are still very much a point of contention, especially in recent years (although there are grounds for optimism). Secondly, it is a South Korean film that has received a substantial amount of attention from European and American media; while Korean films have certainly been making the rounds at film festivals and art house cinema circles for years, it is still relatively uncommon to see a Korean film break into the American mainstream in terms of marketing and distribution, and receive coverage in publications as varied as The New Yorker, Indiewire, and Gawker (now Gizmodo)

中文翻译：

---

承认一个景点：殖民小人的Visuality，和婢女（2016）作为批判

2016 年的《使女》在当代韩国电影中很不寻常，原因不止一个。首先，在一个 LGBT 权利仍然是一个争论点的国家，我们有一个明确的酷儿，实际上是色情的酷儿叙事，尤其是在最近几年（尽管有理由保持乐观）。其次，它是一部受到欧美媒体大量关注的韩国电影；虽然韩国电影多年来肯定在电影节和艺术电影圈中大放异彩，但韩国电影在营销和发行方面闯入美国主流，并在各种出版物上获得报道的情况仍然相对少见。 The New Yorker、Indiewire 和 Gawker（现在的 Gizmodo）