In this blog post, I will analyze the unique narrative structure, character psychology, symbolic imagery, and key scenes of Director Kim Ki-duk’s film ‘Bad Guy’. By examining the patriarchal gaze toward women and the ethical controversies surrounding the film, I aim to explore the significance of the film’s subversion of conventional views on equality.

Why “Bad Guy”?

Director Kim Ki-duk’s “Bad Guy” attracted approximately 740,000 viewers nationwide upon its release, making it the most commercially successful film among his works; at the same time, it was also met with fierce criticism from critics. Of course, my favorite film by Director Kim Ki-duk is “Unknown Recipient.” However, because ‘Unknown Recipient’ contains many realistic and social elements, I believe there are certain limitations to analyzing it primarily through the lens of cinematic form and expression. Therefore, I have chosen ‘Bad Guy’—which, among his works, possesses relatively more accessible elements in terms of imagery and narrative—as the subject of this analysis.
Generally, the main reason this film is criticized lies not so much in the overall story of a woman’s downfall as in the attitude with which she accepts that downfall. In fact, there have been countless films that deal with the story of women being driven into prostitution. However, in many of these previous films, women are forced into prostitution due to social structures or personal circumstances, and as they reflect on their situation, they question the contradictory structures of society. In contrast, ‘Bad Guy’ does indeed present an ideological issue suggesting that women possess an innate tendency toward prostitution and that men help them rediscover that nature. Since this aspect is highly controversial, I will not delve into it deeply here.
Instead, I intend to analyze the film by focusing on its unique narrative structure, characters, and imagery. Of course, it is difficult to deny that ‘Bad Guy’ contains many ideological issues. However, beneath the surface, it possesses considerable cinematic merit, and I believe the work itself is worthy of analysis. In particular, I would also like to discuss the aspect of “subverting conventional views on equality”—which is the main reason I enjoy this film.

A Simple Story and an Unexpected Ending: The Narrative Structure of ‘Bad Guy’

The film’s overall plot is very straightforward. It follows a melodramatic storyline in which a female college student falls victim to a gangster’s scheme, is forced into prostitution, and eventually falls in love with him. A closer look reveals the following.
Seon-hwa is a college student who has everything she could ever want. However, one day while waiting for her boyfriend, she is forcibly kissed by Han-gi, a gangster, simply because she gave him a dismissive look. With the help of those around her, Seon-hwa thoroughly punishes Han-gi. Vowing revenge for this humiliation, Han-gi hatches a scheme. He leaves a wallet—which he had stolen earlier from a bookstore—for Seon-hwa to pick up, and eventually forces her into prostitution at a brothel under his control.
Seon-hwa spends each agonizing day without even understanding how she ended up in such a situation, while Han-gi quietly watches her downfall. Seon-hwa, who had continued to resist, eventually accepts her fate and gradually begins to engage in prostitution more actively. Han-gi silently watches her transformation and finally sets her free. However, Seon-hwa returns to Han-gi of her own accord, and the story ends with the two of them wandering along the seashore while Seon-hwa continues to sell her body to make a living.
In this way, ‘Bad Guy’ has a relatively simple and cause-and-effect narrative structure. In fact, it’s a story so straightforward that it could be considered unusual even among director Kim Ki-duk’s films. However, the film’s final section is a bit different. The narrative flow is suddenly interrupted in the scene where Han-gi, stabbed by his subordinate and bleeding, walks away. Han-gi, who had lost so much blood that he seemed on the verge of death, enters a clothing store, nonchalantly changes into new clothes, and heads toward the beach. There, Seon-hwa is piecing together the torn fragments of a photograph. However, the person in the photo is not Seon-hwa’s ex-boyfriend, but Han-gi himself. This final scene, which does not connect naturally with the preceding narrative, demonstrates that the film deviates to some extent from a classical narrative structure.
Interpretations of this part vary. In my opinion, it seems correct to view the final scene as reality, while everything that came before was Han-gi’s dream or imagination. In other words, the interpretation is that Han-gi was originally a drifter living day to day on the money his wife earned by selling her body, and he simply imagined, “Ah! We could have had a life like this, too.”
In any case, with the exception of the ending, ‘Bad Guy’ follows a relatively faithful, cause-and-effect narrative structure, and I believe this contributed to its box office success to some extent. Of course, a rigorous analysis of the story reveals that there are indeed quite a few plot holes here and there.

Patriarchal Perspectives and Exaggerated Imagery: Why Did Critics Condemn It?

I’ll only briefly touch on the general criticism surrounding ‘Bad Guy’. This is because I believe most reviews have focused excessively on the film’s ideological issues—particularly the sexual degradation of women and male chauvinism—and have shown more interest in scrutinizing the ethical consciousness of “Kim Ki-duk” as a person than in analyzing the film itself.
First, there is the issue of the patriarchal gaze. Many critics, particularly female critics, have criticized Director Kim Ki-duk’s films for sexually degrading women, pointing out that this tendency is maximized in ‘Bad Guy’. It is indeed true that the film contains many such elements. The film goes out of its way to confirm that Sun-hwa is a virgin. Representative examples include the scene where she goes to a motel with her boyfriend and her statement that she wants to have her first sexual experience with him. Furthermore, Sun-hwa—who had previously emphasized her chastity—commits a criminal act by tearing up a sexually explicit painting by Egon Schiele while stealing a wallet, and after she begins working as a sex worker, she is humiliated by men. Later, she even comes to accept prostitution as her inevitable fate. Viewing these scenes, one cannot shake the feeling that the film excessively degrades women sexually throughout. Ultimately, the film is regarded as a work that explores the relationship between sadism and masochism from a patriarchal perspective and reveals an excessive fixation on the female body.
Another criticism concerns the excess of imagery. In director Kim Ki-duk’s films, imagery tends to overwhelm the narrative. This differs from most feature films, where imagery is subordinate to the narrative or, at the very least, placed on an equal footing with it. Moreover, because the imagery is semi-abstract rather than realistic, it creates an unnatural feel in its communication with the audience. Of course, while the story in ‘Bad Guy’ is relatively more distinct and vivid compared to his other works, the film still suffers from an excess of imagery.
Horizontal and closed mise-en-scène, bizarre compositions reminiscent of an abstract painting, the frequent appearance of photographs, mirrors, and paintings, color schemes that do not blend naturally with the space, and even the use of highly visual props—such as a paper knife—all contribute to a film dominated by semi-abstract imagery that does not easily connect with the narrative flow. These characteristics are commonly found throughout Director Kim Ki-duk’s films, and I believe this may be the primary reason his work is not readily accepted by the general public.

Why did Han-gi lead Seon-hwa to ruin?

Han-gi is a quintessential character from the lowest strata of society. In the film, Han-gi barely speaks, except for the line, “Is a thug even a human being?” Perhaps this is because words are unnecessary to describe the character of Han-gi. His very presence in the film is harrowing and brutal. His face is disfigured by scars and bloodstains, his clothes are always filthy, and the only places he frequents are brothels or prison. Han-gi, who is at the very bottom of society and seems to have no hope whatsoever, reveals his sole will to live through his desire for “equality.”
Han-gi is well aware of his circumstances and lives his life while accepting that reality to a certain extent. But there is one thing he absolutely cannot tolerate: being looked down upon. The reason Han-gi insisted on sitting next to Seon-hwa right in the middle of Myeongdong—a place completely out of his league—was likely because he wanted to show her that “you and I are the same kind of human being.” However, that determination is thoroughly ignored by Seon-hwa. Han-gi probably wanted to explain to Seon-hwa that her thinking was wrong, but the only thing he had ever learned was “violence.”
Han-gi, who had displayed a thoroughly violent and cruel demeanor from the very beginning of the film, later begins to show compassion toward Seon-hwa. Of course, it is unclear whether this compassion stems from affection for Seon-hwa or from self-pity—a pity for himself, since he knows no other way to convey his thoughts. In any case, the cruel and violent Han-gi of the early scenes later merely watches Seon-hwa’s downfall calmly and quietly. Then, suddenly, he sets her free.
In my opinion, what Han-gi wanted was not for Seon-hwa to fall just like him and sink to the bottom of society. He simply wanted to demonstrate that the two of them were equal. However, upon seeing Seon-hwa willingly accept sex work and take an active role in it, might he have begun to feel doubts about his own thoughts and actions?
Of course, the fact that Han-gi yearned for equality does not justify his actions. The way he casually ruins a woman’s life simply because she ignored him clearly reveals a patriarchal violence. He can also be seen as the embodiment of a cruel and despicable human being who will stop at nothing to achieve his goals. Of course, Han-gi seems like a character who doesn’t even know what the right means and methods are to begin with. In this respect, while Han-gi may not fully conform to a genre archetype, he can still be considered a somewhat stereotypical character.

Did Seon-hwa succumb to fate, or did she resist in her own way?

Seon-hwa is a highly unique character rarely seen in Korean cinema to date. According to typical genre conventions, a character in her situation would struggle desperately to escape her doomed fate. However, the Seon-hwa in this film accepts her fate with composure, as if she believes this has always been her true nature and that she has simply rediscovered it through Han-gi. Although Han-gi frees her from the trap of fate, Seon-hwa tries to return to her original place, even going so far as to sell her body to the truck driver again. That determination is downright chilling.
In other words, while Han-gi is a character already constructed within the conventions of the genre to some extent, Seon-hwa can be described as a peculiar character who completely breaks free from the genre’s framework. It is precisely this aspect that provokes a sense of repulsion in the audience.
Depending on one’s perspective, Seon-hwa can be interpreted as a character who, while trapped by the ideology of chastity and concealing it outwardly, is internally even more materialistic than Han-gi. It is also possible to criticize her as a character who ultimately reveals the fact that women are merely objects of sexual exploitation by men. In fact, many critics view Seon-hwa from this perspective.
However, there is a point that must be addressed regarding Seon-hwa’s character, which is subject to such criticism. It is true that, from an ethical standpoint, there are many aspects of Seon-hwa’s characterization that are open to criticism. However, if we view her a bit more leniently, her actions could be interpreted as the only means of resistance available to her.
Although Seon-hwa falls helplessly into Han-gi’s trap, she does not simply go along with his wishes until the very end. In fact, after releasing her, Han-gi likely hoped she would return to her former life. Instead, Seon-hwa makes Han-gi fall in love with her and, in a sense, imprisons him—a man as wild as a horse—within her own world. In that sense, Seon-hwa’s choice can be seen not as mere submission but as active resistance.
Of course, this interpretation is also open to debate. However, I believe there is no need to view Seon-hwa solely as a weak woman who simply submitted to her fate. In any case, it is clear that Seon-hwa is a unique character worthy of ongoing analysis.

Why Did ‘Bad Guy’ Become the Story of a Hero Who Never Returns?

Since Director Kim Ki-duk’s films generally deviate from genre conventions, it is very difficult to apply typical genre formulas to the plot of ‘Bad Guy’. If we must categorize it, we could say that, on the surface, it possesses the characteristics of a romantic drama. However, upon closer inspection, the couple’s love story is closer to superficial eye candy than the film’s essential theme. Therefore, analyzing the plot based on the genre structure of a romantic drama would hold little significance.
Instead, though it is a somewhat unconventional approach, I will apply the structure of the hero’s myth—“separation, initiation, and return.” Through this, we can examine how ‘Bad Guy’ resembles traditional hero myths and where it diverges from them.
First is the “Separation” stage. The worlds in which Seon-hwa and Han-gi live are fundamentally distinct. If Seon-hwa exists in the world of light, Han-gi exists in the opposite world of darkness. The street known as Myeongdong serves as the point where the two meet. Given that Han-gi’s figure stands out uniquely even amidst the complex crowd of people, one cannot help but view this as Han-gi invading Seon-hwa’s space.
This setup differs from the typical structure of a hero’s myth. In most hero’s myths, the protagonist is drawn by some force or makes a personal decision to step into another world. However, in this film, Han-gi—who corresponds to the “evil” in a hero’s myth—first crosses over into Seon-hwa’s space and then drags her into his own world. Nevertheless, aside from this difference, some similarities can be found in the basic structure of “separation.”
Next comes the “Initiation” stage. In hero myths, the protagonist enters another world—usually the realm of evil—where they actively struggle and ultimately achieve victory. In ‘The Bad Guy’ as well, after Sun-hwa fully enters the world of darkness, she actively resists Han-gi’s schemes and receives help from allies. However, these allies do not actually intend to save Sun-hwa; they merely pretend to help her in order to satisfy their own desires.
Seon-hwa shows some resolve to fight against her fate, but at a certain point, she collapses abruptly and begins to actively embrace Han-gi’s world. This outcome differs from the typical structure of a hero’s myth. However, viewed from a slightly different perspective—though this is certainly open to criticism—it can also be seen as the moment when Seon-hwa’s active struggle against Han-gi’s original plan begins. Even if the hero’s actions seem jarring and excessively weak, there are aspects that align to some extent with the introductory stage of the hero’s journey.
The final stage is “The Return.” In fact, attempting to align the film’s beginning and middle sections with the structure of a hero’s myth might be a reckless endeavor in itself. Still, we were able to find some common ground in the previous two stages. However, the decisive point where this film breaks free from the genre’s framework is the fact that the hero, having achieved victory, does not return.
Whether she earned it herself or Han-gi sent her back, Seon-hwa is given the opportunity to return to her own world. Yet she ends up re-entering Han-gi’s world. I believe this is a major reason why the film lacks broad appeal. If the ending had shown Seon-hwa gaining enlightenment, returning to her own world to start a new life, or—conversely—rescuing Han-gi from the world of darkness, audiences would have accepted it much more naturally.
Perhaps the director intentionally chose this ending. In any case, by avoiding a conventional conclusion, ‘Bad Guy’ presents audiences with an ending that feels awkward and unnatural. The hero enters another world but, instead of finally returning to his own, chooses to remain there.

Why does the opening scene in Myeongdong show the two characters being viewed from a distance?

The most memorable scene in ‘Bad Guy’ is at the beginning of the film. Examining the camera movements and framing of this scene in order, we see the following:
First, a high-angle shot looks down from above, illuminating the heart of Myeong-dong. Next, as the camera moves, it shows Han-gi standing on the bustling streets of Myeong-dong, followed by a close-up of Han-gi, who stands out conspicuously among the crowd. Next, a medium shot shows Seon-hwa sitting on a bench holding a book, followed by another medium shot of Han-gi sitting side by side with her. The scene then frames the two of them sitting together in a single shot.
Next, the scene cuts to a close-up of Han-gi’s face as he frowns and stares at Seon-hwa, followed by a close-up of Seon-hwa’s face as she glances at Han-gi with a dismissive expression. Returning to a medium shot of the two together, Han-gi stares at Seon-hwa, while she averts her gaze. The camera then shifts to an extreme long shot, viewing the pair from a great distance. Finally, Seon-hwa’s boyfriend appears, and the scene continues with a medium shot of Seon-hwa getting up from her seat.
I believe this opening scene accurately captures the director’s perspective. When viewed up close, the differences between the two people sitting side by side on the bench become clearly apparent. Based solely on their clothing, appearance, expressions, and demeanor, they seem like people from entirely different worlds. However, when viewed from a great height or from a distance, Seon-hwa and Han-gi appear to be nothing more than ordinary people.
I believe this is precisely the idea the director sought to convey through this film. From God’s perspective, Seon-hwa and Han-gi are merely two among countless human beings, and there is no fundamental difference between them. However, when viewed through the distorted and narrow-minded lens of human perception, the two are distinguished from one another, and that distinction leads to discrimination. From the very first scene, the film uses imagery to convey the theme that this perspective itself is flawed.
Thus, the distance at which the camera views the characters in the film’s opening carries significance beyond a mere filming technique. By highlighting the differences that become apparent up close and those that disappear from a distance, the film questions whether the social distinctions we take for granted are truly justified.

Why Does the Equality Portrayed in ‘Bad Guy’ Feel Uncomfortable?

Director Kim Ki-duk’s ‘Bad Guy’ is a work that is inevitably bound to be caught up in ideological debates. If we were to examine each issue one by one, the discussion would go on endlessly. Therefore, as I wrap up my assessment of the film, I would like to examine the issue of equality—which I consider the most important aspect of this work.
First, compared to Director Kim Ki-duk’s other films, ‘Bad Guy’ is a work that adheres relatively closely to a linear narrative. However, it is also clear that cracks in the narrative appear throughout the film. While the director may not seem particularly interested in a sophisticated and well-structured narrative, the cracks in this film’s story are simply too large to allow for effective communication with the audience. That said, it is also difficult to argue that the film succeeded in pushing an excess of imagery while setting aside communication with the audience, as his previous works did.
In other words, while there are signs that the director made some concessions to connect with the general public, it feels as though he ended up failing to capture either the imagery or the narrative effectively, leaving both unfulfilled. This is a significant shortcoming from a cinematic perspective.
Furthermore, ethical debates surrounding Sun-hwa’s character seem unavoidable. Although the director stated in an interview that she wanted to convey how women ultimately embrace men’s patriarchal attitudes and sexual exploitation, what is revealed on the film’s surface is closer to the perception that women are fundamentally beings who must submit to men, and that the only way for a woman to defeat a man is by embracing him sexually. It is difficult to determine exactly what the director’s intention was. However, if one takes the position that the film’s content must be viewed within the broad category of “human ethics,” it is clearly a work open to debate.
Nevertheless, there is one point I would like to emphasize regarding this film: it presents a new perspective on how to achieve “equality.”
In many existing films and dramas, the protagonist must rise to the upper echelons of society to achieve equality. Typical examples include meeting a prince on a white horse or rising to a high position through grueling personal effort. Audiences are already accustomed to these traditional conventions and tend to believe they are the only way to achieve equality.
However, this approach contains a fundamental contradiction. It is based on the premise that the standard for equality is set at the upper class, and anyone remaining outside that realm is treated as if they have no value. Ultimately, the very idea that equality can only be achieved when those at the bottom climb to the top already implies an acknowledgment of the hierarchical superiority of the upper class.
However, ‘Bad Guy’ chooses an approach that is the exact opposite of conventional films. By having Seon-hwa descend into Han-gi’s world, it demonstrates that the path to equality is not necessarily limited to climbing from the bottom to the top. In other words, Han-gi attempts to prove that they are both equal human beings by pulling Seon-hwa into his world.
Of course, this does not mean that this approach is ethically justified. Han-gi’s actions are clearly violent and cruel, and they destroy Seon-hwa’s life. The fact that the desire to achieve equality manifests as an act of dragging another person down to rock bottom contains a serious contradiction in itself. However, I believe it is precisely within that discomfort that we can discover the unfamiliar perspective the film presents.
Audiences accustomed to conventional norms may find this premise unsettling. Just as Han-gi’s malicious actions in the film are not understood by the audience, the director’s perspective on equality also makes viewers feel uncomfortable. However, there is no need to turn away from the questions the film raises simply because of that discomfort.
Why is it that, even as we speak of equality, we always think only of climbing to the top? Why must those at the bottom climb to the top before they can be recognized as equals? And from whose perspective were the standards of equality that we take for granted actually established?
Of course, I do not believe that ‘Bad Guy’ provides satisfactory answers to these questions. The film’s narrative has its flaws, its use of imagery is excessive, and there are clear ethical issues in the way it portrays female characters. It is also insufficient to explain Han-gi’s violent behavior solely through a desire for equality.
Nevertheless, the mere fact that it attempted to offer a new perspective amid existing dichotomous contradictions makes this film worth analyzing. I do not like ‘Bad Guy’ simply because it is a well-made film. Rather, I find it an intriguing work because, despite its numerous problems and contradictions, it challenges us to reexamine the concept of equality that we have come to accept as normal.
Ultimately, ‘Bad Guy’ is a film that demonstrates just how cruel violence committed in the name of equality can be, while simultaneously casting doubt on the very criteria we use to judge equality. While I may not agree with its approach, I do acknowledge that it allows us to view the issue of equality from a different angle—one that would not easily come to mind through conventional perspectives. That is precisely the biggest reason why I like this film and why I believe it is worth re-examining, despite the various criticisms.