In this blog post, I’ll examine the serial murders, the characters’ transformations, and the symbolic scenes in the movie “Blood Rain,” as well as the structural social issues and human psychology revealed through the setting of an isolated island. I’ll also share my thoughts on viewing this film not as a thriller, but from the perspective of film noir.

My Interest in Thrillers and Film Noir, Sparked by ‘The Usual Suspects’

Contrary to its title, ‘The Usual Suspects’ struck me as anything but ordinary. Ever since watching it, crime films—particularly thrillers and film noir—have become a genre I’ve taken a deep interest in. Watching these films made me seek out extreme tension, and I developed my own personal hierarchy of film genres. Since then, the idea that crime films—and specifically thrillers and film noir—occupy the highest tier of genre cinema has taken root in my mind.
The reasons I enjoy thrillers and film noir are subtly different. I like thrillers because they provide thrills. In fact, I don’t actually enjoy physical thrills. In fact, it would be more accurate to say I dislike them. The thrills experienced on amusement park rides or when pushing my physical limits don’t give me much pleasure. They’re just filled with discomfort and pain. However, the thrills I experience in movies give me the greatest pleasure. If there’s something that brings you immense pleasure, who would turn it down? Especially if it’s a pleasure that’s socially accepted.
Film noir certainly provides thrills as well, but more than the intellectual thrill, what resonates more deeply with me is the scathing indictment of a decaying society—a society over which we have no control—and the sense of helplessness I feel in the face of an unchanging reality. This scathing indictment and the helplessness that follows convey a subtle emotion to me. And it makes me think. Such reflection goes a long way toward making my thinking more critical and rational.
However, it is true that this genre of film has yet to take root in South Korea, which is truly regrettable. Nevertheless, I am deeply grateful that good films occasionally pop up out of the blue, and that is precisely why I chose ‘The Bloodstained Island’.

An Island Stained with Blood: The Beginning of a Serial Killing Spree

In the late 19th century, during the Joseon Dynasty, on Donghwa Island—a remote village that had prospered through the paper-making industry—an accident occurred one day in which the paper intended for the royal court burned along with the transport ship. Investigator Won-gyu (Cha Seung-won) and his team were dispatched to Donghwa Island to solve the case. On their first day on the island, while Won-gyu and his team were rushing to solve the fire incident, a gruesome murder took place right before their eyes.
A man named Jang Hak-su was found impaled on a tree. Faced with this unsolved murder and having witnessed the spirit of Kang Gak-ju (Cheon Ho-jin) cursing the villagers during a shamanistic ritual led by Man-sin (Choi Ji-na), the islanders begin to panic, believing it to be a curse unleashed by the vengeful spirit of Kang Gak-ju—whose entire family was beheaded seven years earlier.
As Won-gyu works to solve the case, a series of murders continues to unfold: Jang Ho-bang dies in boiling water; another man suffocates after paper is glued to his face with poison; and Kang Gak-ju dies when his head is crushed. As people are killed, Won-gyu realizes that they are the very people who falsely accused Kang Gak-ju, and he discovers that the methods used to kill them are identical to those used to kill Kang Gak-ju and his family. He sets out to find the last informant and apprehend the culprit.
However, isolated on the ominous island, Won-gyu and his group are driven into a corner by the village’s atmosphere of madness, unable to find any trace of the killer. In-gwon (Park Yong-woo), the son of the paper mill owner, maintains control over the tense village atmosphere with a domineering attitude and is constantly at odds with Won-gyu. Compounding this, the prominence of Do-ho (Ji Sung)—who had once been saved by the executed Gang Gak-ju—and Won-gyu’s discovery that the executioner who carried out the execution of Jang Gak-ju and his family was his own father plunge him into ever deeper confusion.
Taking a clue from Man-shin’s words, Won-gyu discovers So-yeon’s (Yoon Se-ah) body inside a cave and realizes that the motive behind the brutal murder was revenge for So-yeon’s death.
Based on people’s testimonies regarding the relationship between Doo-ho and Jang Gak-ju, as well as Doo-ho’s own behavior, Won-gyu initially concludes that Doo-ho is the culprit, but later realizes that Doo-ho is not the killer but the final informant. The culprit is revealed to be In-kwon, and Won-kyu rushes to the paper mill to stop In-kwon, who intends to tear Do-ho limb from limb—just as Jang Gak-ju was executed.
Won-kwon shoots and kills In-kwon, who was trying to kill Do-ho, and though Won-kyu saves Do-ho and brings him out, the islanders, fearing the vengeful spirit of Jang Gak-ju, brutally kill Do-ho. Then, a rain of blood falls from the sky.

Reviews of ‘Blood Rain’ and the Film’s Genres

Setting aside the typical reactions to ‘Blood Rain’—such as “It’s entertaining,” “Don’t watch it; it’s a waste of money,” or “The movie is too gloomy and brutal”—the following points represent some of the more measured and logical evaluations and critiques:
First, there is the matter of Cha Seung-won’s acting transformation. Cha Seung-won is originally famous as an actor who effortlessly pulls off comedic roles with a laid-back charm. Regarding his decision to star in this film—which might seem heavy—people have two main opinions. One is that Cha Seung-won’s acting transformation was outstanding, while the other is that an actor with a more serious demeanor than Cha Seung-won might have handled the role better.
However, the general consensus is positive: despite his previous image, Cha Seung-won successfully brought the character “Lee Won-kyu” to life, mastered the distinctive speech patterns of historical dramas without any awkwardness, and delivered a compelling psychological performance.
Second, the film is widely regarded as a well-made production. Director Kim Dae-seung, who used subtle psychological portrayals in the film ‘Bungee Jumping of Their Own’ to infuse the romance genre with a mysterious atmosphere. Additionally, art director Min Eon-ok of ‘Spring Fragrance’ spent 10 months losing sleep to meticulously reconstruct Donghwado—a place where rage, fear, and greed dwell—within the real world, creating sets for the island and the paper mill.
Producer Kim Seong-je, known for producing the wild action sequences in ‘Without Blood or Tears’; designer Jeong Gyeong-hui, who created the unique costumes exclusive to ‘Blood Rain’ using new concepts such as hanbok and paper-based outfits that highlight the color palette of traditional Korean clothing; Han Pil-nam, the head of the makeup and hair team from ‘Scandal: The Passion of Joseon Men and Women’, who breathed life into the characters of that era through hair and makeup; and Jo Young-wook, the undisputed master of film music who moves audiences’ emotions through his majestic scores—many consider this a dream team.
However, regarding the music, reviews suggest it fell short of effectively capturing the film’s atmosphere, with some calling it only a “half-success.”
Third is the issue of the story’s structure. Many criticized the opening sequence where Won-gyu begins his investigation, noting that the rapid-fire succession of scenes exposed problems with the editing. However, reviews of the latter half are positive, noting that the film successfully addressed all these issues as it progressed. The story became much more convincing in the latter half.
Criticism of the story is more prevalent, with many pointing out that the abundance of detailed explanations significantly undermined the tension the film needed to maintain. Furthermore, there is strong criticism that the revelation—that In-guk, not Doo-ho, is the culprit—was rushed, leaving audiences feeling let down.
Additionally, many argue that the final scene of the blood rain is too supernatural, significantly diminishing the film’s overall sense of distrust and fear regarding human nature, and there is strong criticism that this scene feels overly contrived to fit the title.

Character Development and Human Conflict

‘Blood Rain’ is a film characterized by multidimensional character development. Lee Won-kyu is a rational and astute character. He is confident in his deductions. Believing his judgments to be scientific and rational, he initially solves the case with precision. He even visits Man-seon, a shaman, to advise her not to exploit the people’s minds through superstition.
However, as the story progresses, his character undergoes a gradual transformation. As his deductions repeatedly prove wrong, he becomes confused, and upon learning that his father is deeply involved in the case, he faces significant inner conflict. The confusion surrounding the case and his own connection to it render Lee Won-kyu a more vulnerable figure.
His attitude, which initially dismissed Man-seon, evolves to the point where he begins to listen to her advice, and from this point on, Man-seon becomes Lee Won-kyu’s ally.
At first, Lee Won-kyu shows no hesitation in risking his own safety to solve the case, even though powerful figures are involved. However, when he secretly throws “Jikgeumdo”—one of the case’s key clues—into the sea at the end, it reveals his determination to cover up the case for his father’s sake, presenting a side of him that contrasts sharply with his initial demeanor.
In-kwon initially appears as a simple, unremarkable character. Consequently, in the early part of the film, it was hard to imagine that he would play a significant role. However, that assumption was dispelled by the peculiar hostility In-kwon displayed toward Lee Won-kyu.
In fact, from the moment he displays more hostility than necessary toward Won-gyu—who has come to Donghwa Island to solve the case—In-kwon’s character transforms into a proactive force driving the film forward. Inkwon’s character arc reaches its climax at the end. As he is revealed to be the culprit, and the truth emerges that his father condoned the actions of five informants, along with the nature of his relationship with So-yeon, he comes to play a role that profoundly influences a significant portion of the film.
We see him torn between the woman he loves and his own father—one of the causes behind her current plight; we see him suffering as he sends the woman he loves across the sea, yet remains trapped on the island—the very source of his deep inner conflict—due to his own emotional turmoil; and the realization that his beloved was killed because of that very turmoil. His quest for revenge makes him the most dynamic and human character in the film.
Doo-ho initially appears as a compliant character. He is portrayed as the archetypal figure who recognizes his master’s kindness and seeks to repay that debt. However, as the plot unfolds, he transforms from a compliant character into a rebellious one.
When his act of saving the daughter of the gang leader was not accepted at face value, he must have felt intense hatred toward his own social status. That hatred ultimately leads him to betray his master. And in the end, he lets out a heart-wrenching scream. There is no doubt that this dynamic transformation of the character adds considerable appeal to the film.

The Structural Problems of Society Revealed Through Wounds and the Island

Along with the dynamic portrayal of the characters, there is another element that enhances the film’s appeal: symbolic imagery. On the second day Lee Won-kyu goes to inspect the paper mill, he is injured. He sustains a long gash on his arm, and this wound serves as a crucial symbol in the film.
The historical period in which Lee Won-kyu lived was one where strict class distinctions were firmly entrenched. These class distinctions must have inflicted deep wounds on many people. Despite possessing talent, he must have had his abilities disregarded simply because he was a “lowborn,” and, just as his father had, he likely had to live a life of being looked down upon.
The relationship between In-won-gyu’s father and Kang Gaek-ju, as well as the relationship between Kang Gaek-ju and Doo-ho, were formed within this social hierarchy. Therefore, these relationships were inevitably destined to be scarred.
Contrary to the doctor’s assurance that Lee Won-kyu’s wound would heal well, it gradually became infected and began to fester. Without fundamental healing, wounds are bound to fester and rot. In a society—and within relationships—that already bears deep wounds, the absence of proper treatment causes those wounds to fester.
The consequences manifest as the massacre of the Kang Gak-ju family, Do-ho’s betrayal, In-kwon’s revenge, and the suicide of In-kwon’s father. Although the wound eventually heals, it leaves a scar.
As In-won said in his final words before being shot—“Kill me, then cover your shame with a knife and go on living”—those wounds, though they appear to have healed, have already left deep scars. In any society, even if the stench of decay fills the air and people are dying, as long as one covers one’s shame with a knife and carries on, there appears to be no problem on the surface. One simply needs to live as if the stench of decay does not exist.
Human Rights kills the four people who framed Gang Gak-ju, and in the end, Doo-ho is also killed by the crowd, but that does not mean everything is over. The social caste system still exists, Gang Gak-ju—who died unjustly—cannot be brought back to life, and the injustice he suffered has not been revealed.
Furthermore, while Lee Won-kyu initially tried to reform this rotten society, it ultimately becomes clear that even he, by abandoning Jikgeumdo, has no choice but to live by covering up the scar that remains from that wound.
The impact of this scathing critique is intensified by the blood rain that falls at the end. Blood pours down from the sky like rain, and the people go mad with frenzy. Gang Gak-ju’s words—“On the day my blood pours down like rain… I will drain your blood and strip your bones!’—Gang Gak-ju’s words come true.
Although they bear no direct blame, his tears of injustice pour down upon those who turned a blind eye to his plight.
Secondly, this incident takes place on an island. In ‘The Bloodstain’, the setting for the horrific series of murders is none other than the isolated island of “Donghwa-do.”
The reason ‘The Blood Stain’ was able to become even more brutal by setting it on an isolated island is, first, due to the unique nature of “islands” as spaces during the late Joseon Dynasty. Unlike the mainland, where transportation was well-developed, islands at that time were isolated places even more inaccessible to outsiders than they are today. An island is an isolated entity, and as such, it instills even greater fear in people.
The serial killer must necessarily be someone on the island, yet even so, there is no escape from this isolated island. Because interaction with the mainland is difficult, the corruption on the mainland may not affect the island.
However, once corruption takes hold on the island, the consequences become unbearable. It is difficult to assume that just because society is corrupt, moral individuals will necessarily follow suit. This is because while the structure of society may influence individuals, the interactions among moral individuals can contribute to the positive direction of society.
However, individuals who do not interact with others find it very difficult to influence society. Rather, they are more likely to be passively influenced by society. Because an island is an isolated entity, it is difficult to find interaction with any other entity. It is highly unlikely that the island itself could influence the whole. Only the whole can influence the island.
Even if “Donghwado” was initially a space free from corruption, if it has no choice but to conform to society, the island will inevitably rot just like the corrupt whole. And because there is no interaction whatsoever, once it begins to fester, it is difficult to find a way to cure it.
The existence of such an island serves to amplify the structural problems of society and the internal conflicts of individuals that this film addresses.

Reasons for Viewing ‘Blood Rain’ as a Film Noir and an Evaluation of the Film

I believe ‘Blood Rain’ is an excellent film, especially given the lack of crime films in Korean cinema. While almost everyone refers to this film as a “thriller,” I would like to classify it as a “film noir.”
The reason is that, rather than relying on the breathless plot twists typical of a “thriller,” this film centers on structural social issues and human psychology. Furthermore, it adheres relatively well to the basic conventions of the noir genre.
First, we are introduced to “Lee Won-kyu,” a lone detective tasked with solving the case, and the film is set on an island called “Donghwa Island,” which harbors dark memories from the past. It also depicts a world where people are murdered without a second thought, and human life is devalued. With its strong critical perspective on social realities and its meticulous portrayal of human psychology, this film—despite its many flaws—can certainly be considered a “film noir” of the highest caliber.
In fact, even in very straightforward genres, South Korea often fails to adhere to basic genre conventions; however, ‘Blood Rain’ is an entertaining film that adheres to those conventions well.
It also brings the historical setting of the Joseon Dynasty to life remarkably well. It dispels many of the preconceptions we held about the Joseon Dynasty. For example, when Lee Won-kyu performs an autopsy on a dead body, many people probably wouldn’t have imagined that such scientific investigations were conducted in the Joseon Dynasty, much like in ‘CSI’. Similarly, when interrogating a criminal, viewers likely assumed the provincial governor would capture a suspect, torture them to extract a confession, and catch the culprit—rather than apprehending the culprit through logical interrogation.
Just as nothing is perfect, this film also has a few flaws. The scene where In-kwon is revealed to be the culprit at the end is rushed, creating a major plot hole despite the story being well-crafted overall.
Audiences likely didn’t expect the culprit to be revealed in such a simplistic manner. Determining the culprit based solely on a few words from Lee Won-kyu, without any visual effects, was extremely disappointing.
Just as in ‘The Usual Suspects’, the final scene—where a note is shown without any dialogue—hints at the culprit’s identity as scenes from the film flash by like a panorama; however, ‘Blood Rain’ lacks such a powerful visual effect, leaving the scene feeling rather flat.
Furthermore, while ‘Blood Rain’ initially appeared to criticize the social structures that force individuals to act in certain ways, by the end, its excessive focus on individual psychology rather than those structures made the film’s central theme ambiguous.
By highlighting the inherently evil and petty nature of the individual—and thereby instilling the idea that society is bound to rot simply because such individuals exist—the film’s argument lost its consistency by the end.
Nevertheless, I still feel like I watched a good movie, and if I could just stop thinking about the scene where Gang Gak-ju is torn limb from limb while washing my hair in the shower, it would be a perfect film.