“Dark Nuns” ranked for the first time in ticket reservations and attracted almost 800,000 spectators in just four days from the release. While the occult genre is often seen as niche, Korean reinterpretations have transformed it into a traditional genre. Sometimes disturbing, chilling, but elegant and even corroborating, this new world of hidden narration is only in Korean style called K-Docult.
From “The priests” to “The Wailing”, together with countless Zombi themed works and “The Cursed”, the kingdom of K-Docult has continued to expand. Last year, “Exuma” reached an peak in the genre and “Dark Nuns” collected the baton at the beginning of this year. Western hidden films tend to concentrate on the exorcist priests who fight individuals owned, but K-occult incorporates distinctly Korean elements such as shamanism, improving the battle between light and dark in something almost superhero.
Dark nuns can also be seen as a twin film of “priests”. The Kang Dong-Won cameo in priest’s clothes at the end of the film is a clear mention of this connection. Just like Kang’s clerical gaze has become a cultural moment in “The Priestots”, the apparition of Song Hye-Kyo in the habit of a nun has become the fulcrum of “Dark Nuns”. Even before its release, its bold promotional efforts and the bold quotes have guided the anticipation for the film to new heights.
Since the beginning of the film, Song Hye-Kyo attracts the attention of the public with an image other than anything has shown before. Smoking a cigarette, wearing the habit of a nun and transporting a drum full of oil but with holy water, moves with confidence to confront a owned individual. His pure audacity leaves the spectators who wonder, is the song we know really?
“Dark Nuns” follows her sister Junia (Song Hye-Kyo) and her sister Michaela (Jeon Yeo-Bin) while working to exorcise a boy named Hee-Jun (Moon Woo-Jin) who is owned by an evil spirit. While surface fiction may not move away from traditional hidden films, its unique elements focus on a more awaited inspection. In particular, the story is focused on the nuns who take a role traditionally reserved for priests, challenging the agreement from the beginning.
Her sister Junia has the ability to perform exorcisms, but since she is not a priest, she is denied the official authority to perform these rituals. This exclusion reflects the perspective of marginalized individuals, those who have power but are denied recognition due to social structures. Sister’s companions Junia are in similar positions. Her sister Michaela and a former nun transformed into Shaman are both capable individuals, but their skills are seen more as burdension than blessings. At a certain point, Junia refers cynically to herself and to others as “Pazzi b **** eg”.
The uncomfortable attitude of junia-fluent, inaccurate and in the face of the demons frontally-is deeply cathartic. Their struggles as individuals rejected by the society for their abilities make their fight against evil even more compelling. The solidarity they show in their battles resonates with the spectators, creating a powerful metaphor: the real “evil” is not only the demons but the society that refuses to accept them.
With this context in mind, the bold promotional approach of Song Hye-Kyo and the extraordinary transformation take further meaning. His representation of a rebellious nun – who smokes and swore while he is dressed in a habit, emits her journey as an actress in an industry that often borders women to restrictive roles. Through “Dark Nuns”, expectations crushes and claims his identity as an artist is not afraid to challenge the agreement.
“Dark Nuns” is not just an electrifying hidden film; It is a declaration on the marginalization of the society of the “other” and the force found in the rebellion. While Song Hye-Kyo sets fire to old stereotypes, it emerges as a real strength not to be underestimated, both in the film and in his career.
