By Pierce Conran
A great year for Korean genre cinema keeps getting better with the release of Lee Kyoung-mi's long time coming sophomore feature, the riveting The Truth Beneath, a sumptuous and anarchic political thriller, kidnap drama, suspenseful whodunnit and kaleidoscopic descent into delirium. Falling between the stylistic panache of Park Chan-wook's
Lady Vengeance (2005), on which she was a scripter and assistant director, and the manic paranoia of Tetsuya Nakashima's
Confessions (2010), Lee's latest features a career-best performance by Son Ye-jin in a narrative that occasionally gets mired in tonal vagaries.
