| Source | Rating | Highlights | |--------|--------|------------| | | 69% (Tomatometer) | Praised for its atmospheric dread and strong lead performance by Jeon Do‑yeon. Some critics felt the remake lacked the original’s subtle social commentary. | | Metacritic | 61/100 | Recognized as a “well‑crafted horror thriller” with “effective suspense” but noted occasional pacing issues. | | Korean Film Critics Association | ★★★★☆ | Highlighted the film’s exploration of modern Korean family dynamics and its visual elegance. | | Audience Response | Mixed–Positive | Viewers appreciate the blend of classic horror tropes with a contemporary domestic setting. The “dual‑audio” version is often mentioned as a plus for international fans. |
The film is celebrated for its high production values and exceptional acting: the housemaid 2010 www7starhdmydual audio top
: Eun-yi, a naive and kind divorcee, is hired to work as a junior housemaid for an ultra-wealthy family. The household consists of the master Hoon, his pregnant wife Hae-ra, and their young daughter Nami. A destructive love triangle forms when Hoon uses his power to begin a physical affair with Eun-yi, leading to a series of tragic and violent events. Release Date : May 13, 2010 Running Time : 107 minutes : Drama, Erotic Thriller, Melodrama Key Cast & Crew Im Sang-soo Jeon Do-yeon as Lee Eun-yi (The Housemaid) Lee Jung-jae as Master Hoon Youn Yuh-jung as Byung-sik (The Senior Housekeeper) as Hae-ra (The Wife) Original Screenplay Kim Ki-young (credited for the original 1960 story) Critical Reception The Housemaid (2010) - Full cast & crew - IMDb | | Korean Film Critics Association | ★★★★☆
The Housemaid tells the story of a young, female housemaid named Dodong (played by Moon Geun-young), who becomes involved in a complex and intense relationship with the family she works for, particularly the father, Mr. Han (played by Oh Dal-su). The film explores themes of exploitation, desire, and the blurring of social boundaries. | The film is celebrated for its high
The film’s climax is deliberately ambiguous, which has frustrated some viewers but rewards careful reading. Eun-yi, after losing the pregnancy and nearly her life, returns to the mansion. She climbs to the highest point of the house — a rooftop terrace where Hoon once kissed her — and dangles from the railing. The film cuts away before we see her fall. Later, we see the family calmly eating breakfast. Hae-ra is holding a new baby (Hoon’s child by his wife, not Eun-yi’s). The grandmother pours tea. The maid sets the table. Outside, snow falls on the glass house. Im cuts to a final shot of a child’s swing, moving in the wind, empty. The message is clear: Eun-yi may have lived or died, but it does not matter. The house has already replaced her. A new housemaid will arrive by afternoon. The rich will eat their eggs. The system absorbs all rebellion.