--- product_id: 5753364 title: "A Tale of Two Sisters" price: "₹ 3153" currency: INR in_stock: true reviews_count: 8 url: https://www.desertcart.in/products/5753364-a-tale-of-two-sisters store_origin: IN region: India --- # A Tale of Two Sisters **Price:** ₹ 3153 **Availability:** ✅ In Stock ## Quick Answers - **What is this?** A Tale of Two Sisters - **How much does it cost?** ₹ 3153 with free shipping - **Is it available?** Yes, in stock and ready to ship - **Where can I buy it?** [www.desertcart.in](https://www.desertcart.in/products/5753364-a-tale-of-two-sisters) ## Best For - Customers looking for quality international products ## Why This Product - Free international shipping included - Worldwide delivery with tracking - 15-day hassle-free returns ## Description Tale Of Two Siste Review: Possibly The Greatest 'Ambiguous ' Movie Ever, Plus Great Twists And Turns - Okay, even though "A Tale Of Two Sisters" came out in 2004 I just saw it for the first time recently; its 2004 release date may make this statement somewhat less relevant than if it was brand new but I've still got to say it: just when you start to fear that maybe you've seen all the really radical twists out there and nothing is going to be able to have that same level of surprise revelations, along comes something like A Tale Of Two Sisters. With a "Sixth Sense"/"Identity" level twist in there, it also manages to perform the seemingly contradictory feat of having one of the most ambiguous endings ever seen. The movie's resolution leaves some things even more uncertain but confused than they were at the beginning, but not in a frustrating way - it's left open in a way that's chilling and haunting. Two young girls, Soo-mi and Soo-yeon, return to the country home of their father and stepmother after a period of hospitilzation for some undisclosed problem. From the beginning, the beauty of the home and its idyllic setting in the Korean countryside is at sharp odds with the almost palpable tension surrounding the homecoming. It's clear that something unfortunate or disturbing happened at this house in the not too distant past, and though all four of the movie's main characters seem to know what it was, there seems to be an unspoken agreement not to mention it specifically, and characters reference it only obliquely or through their actions. Therefore the viewer is in the dark and is left to piece together subtle, tantalizing clues. You start to get more ideas where things are going after a while; I hesitate to say too much about the second half. Suffice it to say that the twist is major, and that rather than coming right at the end of the movie, A Tale Of Two Sisters continues on a ways past that key shock and gets, if anything, even weirder. The lighting, the sound work, the pacing of even the most 'ordinary' scenes - all kinds of stuff that you often don't notice in a movie unless it's really Bad and fouls things up, is done here so spot-on perfect from start to finish that it's essential to comment on. All these production values make otherwise attractive scenes downright gorgeous, and make otherwise tense scenes utterly riveting. The mysterious, just slightly otherwordly (just enough to make you wonder...) atmosphere created in here is remarkable. And the acting is astonishing; Korean films seem to be very well done in this respect and this is in the top tier. In a movie with relatively little dialogue and even less action (until the end portions of the movie) so much could have gone wrong: the whole movie could have dragged, any number of things could have come off contrived rather than potent, the ambiguous nature of the resolutions could have been maddening rather than rewarding. Somehow though, everything fit together perfectly. The way there so many ways to go off the rails would make me extremely wary about the prospects for this movie's upcoming remake even if there wasn't such a glut of them (I actually love a lot of remakes, it's just there's Way too many of them right at the moment). If ever the chances of lightning striking twice seemed slim this would be it. I'm not going to urge people to not see the new one (I couldn't if I wanted to, since I haven't seen it myself yet) but this is a case where, if you think it looks good, I'd urge you to not wait just on the basis of the original being subtitled, which I know still puts a lot of people off. But if you take a chance on subtitles (granted, most of the people reading this are probably already into foreign-language movies) you're likely to discover that there's a ton of great stuff out there in numerous languages that's every bit as good as the best English-language movies. Now, the remake might turn out to be good too, but this Definately is. On the subject of foreign-language movies (for the benefit of those who might be new to them, which, again, probably doesn't apply to most people reading this) one area where South Korea really excels is with horror movies, like this one. There's a slew of high-quality ones right here on desertcart, and in addition to A Tale Of Two Sisters two of the best ones I can recommend are The Uninvited and The Host (Two-Disc Collector's Edition) . Review: Shattered Reflections - Magnificently recreated from a Korean folktale, A Tale of Two Sisters, produced by Sir Laosson Dara for iPictures and Tartan Asia Extreme (2003), impresses thoughtful filmgoers with its dazzling imagery, complex plot twists, and seeming incongruities, which are wedded to a full complement of visceral shocks and shudders. Su-Yueng's (Geun-yeong Mun) older sister, Su-mi (Su-jeong Lim), recently institutionalized, cannot recall the upheaval that destroyed her family at its country lakehouse, frustrating her psychiatrist. Prescription in hand, the girls' father, Dr. Mu-hyeon (Kap-su Kim) chauffeurs the brooding remnant home, journeying through tropical thickets, lush river valleys, and verdant mountains. Tall thistles rhythmically willow to the film's counter-intuitive score, an enchanting composition by Byung-woo Lee. Among the spate of psychological thrillers in the J- and K-horror tradition that have made their way to our shores from half a world away, this award-winning film is a masterpiece--thanks, in part, to the brilliant performances of actresses, Su-jeong Lim (Su-mi) and Jung-ah Yum (Eun-ju), the writing and direction of Ji-woon Kim, cinematography and art direction of Mo-gae Lee and Geun-hyeon Jo, and the imaginative film editing of Hyeon-mi Lee, The film's relevance derives from Kim's intrepid statements about the social and psychological tolls victims' pay in broken families, which is as much a potent issue overseas as it is in America. Kim et al., dramatically segue them into a top-tier, compelling and suspenseful horror-mystery. The sisters saunter out of their father's car upon arrival and sensuously reorient themselves to their surroundings, warming to the sun. The chords of piano crescendo to the intensifying strains of guitar, violin, viola, and cello, as the pair rush out a pier adjoining a nearby wharf, seat themselves at its precipice, and broadcast their arrival by dipping their toes into cool, placid waters, generating eddies and ripples. Throughout life, but particularly in childhood, each of us develops a sense of identity from the way we believe significant others perceive and judge us, as if they were reflecting pools. Charles Horton Cooley labeled this phenomenon, "the looking glass self" or "empathic introspection." For shattered minds, ridden by guilt and regret, the currents of distressed consciousness distort what we internalize from others, even if it comforts us. Preternatural angels and demons, real and imagined, mirror our self-perceptions. For aeons, they have stalked us, appearing in our cave art, dreams, nightmares, and hallucinations. Perhaps the wellsprings of "multiple personality disorder" (IDC-9) or "dissociative identity disorder" (DSM-IV-TR), the most dangerous of these entities may be the poltergeists summoned by traumatized adolescent girls through "recurrent spontaneous psychokinesis," as researched by Nandor Fodor. This was the theory advanced by novelist, Brent Monahan, and director, Courtney Solomon, as the source of the Bell Witch, in their interpretation of actual events that included a death on a 19th Century Tennessee farm in "An American Haunting" (Lionsgate, 2005). They dare us to face our most vexing secrets lest they remain forever cloaked behind ochre walls, painted veils, bedroom wardrobes, or concealed beneath bathroom and kitchen fixtures. They keep vigilance over our troubled souls from the muted corners of mind and matter, agitating us to become who or what we will--or confront what will become of us. Under a glowering full moon, nighttime tells a different tale of two sisters, and their fractured world. Within a restless house of haunted mirrors and broken glass reside painful memories of an absent mother. Su-mi recollects her from old photos and personal effects retrieved from flowered boxes that her mum once ribboned with love. She shares them with Su-yueng--to the angst of their stepmother. Eun-ju (Jung-ah Yum) is an icy albeit beautiful nurse whom the sisters' aloof and self-absorbed father met at work, and later married, after she tended to their mother. Su-mi despises her, and Eun-ju returns the favor in spades. In a notable scene, Eun-ju shrieks with laughter amid the pairs' uncle and aunt, who have been invited by Mu-hyeon to what should have been a quiet, candlelight dinner. With Mozart's Violin Concerto #5, providing the background music, she recounts an old tale about their neighbor, a farmer, otherwise uninteresting, who uncharacteristically stripped-off his clothing whenever it rained while plowing his fields, often in full view of travelers who might be motoring along an abutting highway. After prodding her guests to remember the amusing story, Eun-ju sours in disgust at their professed ignorance and confusion. Su-mi's aunt drops to the floor, lapsing into an epileptic seizure, which nearly chokes her to death, but successfully kills the evening. On their return trip, the sisters' aunt tells their uncle that while she lie convulsing on the floor she spotted a ghostly girl hiding underneath the kitchen sink. A similar entity entered the bedrooms of Su-mi and her sister the previous night. There is a fascinating bond that ties Su-mi, Su-yueng, and Eun-Ju to the metaphysical wraith. The latter's gripping role, as a silent storyteller, though brief, will chill filmgoers with the details that underlie the devastating family history, shown in fleeting fragments and flashback. Suffice it to say that what we see of ourselves, as mirrored in others, often is re-visited when we become their reflecting pools. An "American" adaptation of A Tale of Two Sisters, starring Arielle Kebbel and Emily Browning, along with David Straihairn, Elizabeth Banks, and Maya Massar recently concluded filming in Bowen Island, British Columbia, Canada. Shot by British directors, Charles and Thomas Guard, the picture is scheduled for release later in 2008--all the best. The world keeps spinning. ## Technical Specifications | Specification | Value | |---------------|-------| | Color | Unknown | | Contributor | Im Soo-Jung, Kim Jee-Woon, Yeom Jeong-A | | Customer Reviews | 4.5 out of 5 stars 567 Reviews | | Format | Color, Multiple Formats, NTSC | | Language | Korean | | Runtime | 1 hour and 55 minutes | ## Images ![A Tale of Two Sisters - Image 1](https://m.media-amazon.com/images/I/61WWRudtbkL.jpg) ![A Tale of Two Sisters - Image 2](https://m.media-amazon.com/images/I/71ALA3QZc+L.jpg) ## Customer Reviews ### ⭐⭐⭐⭐⭐ Possibly The Greatest 'Ambiguous ' Movie Ever, Plus Great Twists And Turns *by S***S on March 30, 2008* Okay, even though "A Tale Of Two Sisters" came out in 2004 I just saw it for the first time recently; its 2004 release date may make this statement somewhat less relevant than if it was brand new but I've still got to say it: just when you start to fear that maybe you've seen all the really radical twists out there and nothing is going to be able to have that same level of surprise revelations, along comes something like A Tale Of Two Sisters. With a "Sixth Sense"/"Identity" level twist in there, it also manages to perform the seemingly contradictory feat of having one of the most ambiguous endings ever seen. The movie's resolution leaves some things even more uncertain but confused than they were at the beginning, but not in a frustrating way - it's left open in a way that's chilling and haunting. Two young girls, Soo-mi and Soo-yeon, return to the country home of their father and stepmother after a period of hospitilzation for some undisclosed problem. From the beginning, the beauty of the home and its idyllic setting in the Korean countryside is at sharp odds with the almost palpable tension surrounding the homecoming. It's clear that something unfortunate or disturbing happened at this house in the not too distant past, and though all four of the movie's main characters seem to know what it was, there seems to be an unspoken agreement not to mention it specifically, and characters reference it only obliquely or through their actions. Therefore the viewer is in the dark and is left to piece together subtle, tantalizing clues. You start to get more ideas where things are going after a while; I hesitate to say too much about the second half. Suffice it to say that the twist is major, and that rather than coming right at the end of the movie, A Tale Of Two Sisters continues on a ways past that key shock and gets, if anything, even weirder. The lighting, the sound work, the pacing of even the most 'ordinary' scenes - all kinds of stuff that you often don't notice in a movie unless it's really Bad and fouls things up, is done here so spot-on perfect from start to finish that it's essential to comment on. All these production values make otherwise attractive scenes downright gorgeous, and make otherwise tense scenes utterly riveting. The mysterious, just slightly otherwordly (just enough to make you wonder...) atmosphere created in here is remarkable. And the acting is astonishing; Korean films seem to be very well done in this respect and this is in the top tier. In a movie with relatively little dialogue and even less action (until the end portions of the movie) so much could have gone wrong: the whole movie could have dragged, any number of things could have come off contrived rather than potent, the ambiguous nature of the resolutions could have been maddening rather than rewarding. Somehow though, everything fit together perfectly. The way there so many ways to go off the rails would make me extremely wary about the prospects for this movie's upcoming remake even if there wasn't such a glut of them (I actually love a lot of remakes, it's just there's Way too many of them right at the moment). If ever the chances of lightning striking twice seemed slim this would be it. I'm not going to urge people to not see the new one (I couldn't if I wanted to, since I haven't seen it myself yet) but this is a case where, if you think it looks good, I'd urge you to not wait just on the basis of the original being subtitled, which I know still puts a lot of people off. But if you take a chance on subtitles (granted, most of the people reading this are probably already into foreign-language movies) you're likely to discover that there's a ton of great stuff out there in numerous languages that's every bit as good as the best English-language movies. Now, the remake might turn out to be good too, but this Definately is. On the subject of foreign-language movies (for the benefit of those who might be new to them, which, again, probably doesn't apply to most people reading this) one area where South Korea really excels is with horror movies, like this one. There's a slew of high-quality ones right here on Amazon, and in addition to A Tale Of Two Sisters two of the best ones I can recommend are The Uninvited and The Host (Two-Disc Collector's Edition) . ### ⭐⭐⭐⭐⭐ Shattered Reflections *by M***R on January 10, 2008* Magnificently recreated from a Korean folktale, A Tale of Two Sisters, produced by Sir Laosson Dara for iPictures and Tartan Asia Extreme (2003), impresses thoughtful filmgoers with its dazzling imagery, complex plot twists, and seeming incongruities, which are wedded to a full complement of visceral shocks and shudders. Su-Yueng's (Geun-yeong Mun) older sister, Su-mi (Su-jeong Lim), recently institutionalized, cannot recall the upheaval that destroyed her family at its country lakehouse, frustrating her psychiatrist. Prescription in hand, the girls' father, Dr. Mu-hyeon (Kap-su Kim) chauffeurs the brooding remnant home, journeying through tropical thickets, lush river valleys, and verdant mountains. Tall thistles rhythmically willow to the film's counter-intuitive score, an enchanting composition by Byung-woo Lee. Among the spate of psychological thrillers in the J- and K-horror tradition that have made their way to our shores from half a world away, this award-winning film is a masterpiece--thanks, in part, to the brilliant performances of actresses, Su-jeong Lim (Su-mi) and Jung-ah Yum (Eun-ju), the writing and direction of Ji-woon Kim, cinematography and art direction of Mo-gae Lee and Geun-hyeon Jo, and the imaginative film editing of Hyeon-mi Lee, The film's relevance derives from Kim's intrepid statements about the social and psychological tolls victims' pay in broken families, which is as much a potent issue overseas as it is in America. Kim et al., dramatically segue them into a top-tier, compelling and suspenseful horror-mystery. The sisters saunter out of their father's car upon arrival and sensuously reorient themselves to their surroundings, warming to the sun. The chords of piano crescendo to the intensifying strains of guitar, violin, viola, and cello, as the pair rush out a pier adjoining a nearby wharf, seat themselves at its precipice, and broadcast their arrival by dipping their toes into cool, placid waters, generating eddies and ripples. Throughout life, but particularly in childhood, each of us develops a sense of identity from the way we believe significant others perceive and judge us, as if they were reflecting pools. Charles Horton Cooley labeled this phenomenon, "the looking glass self" or "empathic introspection." For shattered minds, ridden by guilt and regret, the currents of distressed consciousness distort what we internalize from others, even if it comforts us. Preternatural angels and demons, real and imagined, mirror our self-perceptions. For aeons, they have stalked us, appearing in our cave art, dreams, nightmares, and hallucinations. Perhaps the wellsprings of "multiple personality disorder" (IDC-9) or "dissociative identity disorder" (DSM-IV-TR), the most dangerous of these entities may be the poltergeists summoned by traumatized adolescent girls through "recurrent spontaneous psychokinesis," as researched by Nandor Fodor. This was the theory advanced by novelist, Brent Monahan, and director, Courtney Solomon, as the source of the Bell Witch, in their interpretation of actual events that included a death on a 19th Century Tennessee farm in "An American Haunting" (Lionsgate, 2005). They dare us to face our most vexing secrets lest they remain forever cloaked behind ochre walls, painted veils, bedroom wardrobes, or concealed beneath bathroom and kitchen fixtures. They keep vigilance over our troubled souls from the muted corners of mind and matter, agitating us to become who or what we will--or confront what will become of us. Under a glowering full moon, nighttime tells a different tale of two sisters, and their fractured world. Within a restless house of haunted mirrors and broken glass reside painful memories of an absent mother. Su-mi recollects her from old photos and personal effects retrieved from flowered boxes that her mum once ribboned with love. She shares them with Su-yueng--to the angst of their stepmother. Eun-ju (Jung-ah Yum) is an icy albeit beautiful nurse whom the sisters' aloof and self-absorbed father met at work, and later married, after she tended to their mother. Su-mi despises her, and Eun-ju returns the favor in spades. In a notable scene, Eun-ju shrieks with laughter amid the pairs' uncle and aunt, who have been invited by Mu-hyeon to what should have been a quiet, candlelight dinner. With Mozart's Violin Concerto #5, providing the background music, she recounts an old tale about their neighbor, a farmer, otherwise uninteresting, who uncharacteristically stripped-off his clothing whenever it rained while plowing his fields, often in full view of travelers who might be motoring along an abutting highway. After prodding her guests to remember the amusing story, Eun-ju sours in disgust at their professed ignorance and confusion. Su-mi's aunt drops to the floor, lapsing into an epileptic seizure, which nearly chokes her to death, but successfully kills the evening. On their return trip, the sisters' aunt tells their uncle that while she lie convulsing on the floor she spotted a ghostly girl hiding underneath the kitchen sink. A similar entity entered the bedrooms of Su-mi and her sister the previous night. There is a fascinating bond that ties Su-mi, Su-yueng, and Eun-Ju to the metaphysical wraith. The latter's gripping role, as a silent storyteller, though brief, will chill filmgoers with the details that underlie the devastating family history, shown in fleeting fragments and flashback. Suffice it to say that what we see of ourselves, as mirrored in others, often is re-visited when we become their reflecting pools. An "American" adaptation of A Tale of Two Sisters, starring Arielle Kebbel and Emily Browning, along with David Straihairn, Elizabeth Banks, and Maya Massar recently concluded filming in Bowen Island, British Columbia, Canada. Shot by British directors, Charles and Thomas Guard, the picture is scheduled for release later in 2008--all the best. The world keeps spinning. ### ⭐⭐⭐⭐⭐ Tragic but suspenseful story of two sisters *by D***W on August 1, 2006* Of the wave of Korean horror that's come out, A Tale of Two Sisters comes out tops over the high school horror trilogy (Whispering Corridors, Memento Mori, and Wishing Stairs) and the Korean version of the Ring. That's because elements of madness, psychology, and dramatic tragedy of the Bae family emerge to make it more than just a simple horror film. Two young sisters, Bae Su-Mi and Bae Su-Yeon (pronounced Suyonee), return to their nice large lakeside home after a stint at a mental hospital, where they are greeted by Eun-Joo, their new stepmother. Initially portrayed as being a bit too cheery, Eun-Joo is pretty harsh. Their father, Bae Mu-Hyun, a quiet bespectacled man, though worried about Su-Mi, seems quite powerless. He even admits to Su-Mi that she must be angry at him for being such a bad father. As siblings, Su-Mi is clearly the more dominant and more talkative one, emerging as the protective older sister of the shyer Su-Yeon. Su-Mi is resentful at the way Eun-Joo tries to insert herself into their home. One conflict emerges when Su-Mi puts her father's folded pajamas on his bed. Eun-Joo, who later carries another set of PJ's, is a bit taken back, but reminds her stepdaughter that the clothes is her job now. Part of that is that Su-Mi still misses her late mother, as evidenced when she goes to the warehouse and brings back a box of her mother's possessions, including old photos. A brief but wonderful scene is where the normally placid Su-Yeon becomes animated when seeing the box's contents. However, when Su-Mi discovers marks on Su-Yeon's wrists, she gets angry and acts against her stepmother, which accelerates hostilities between her and Eun-Joo to the point that someone is lugging a bloody bag that could fit a human being within. Indeed, it looks like Eun-Joo is the wicked stepmother, as in a rage, she locks poor Su-Yeon in the wardrobe. But when Myu-Hyong's relatives come over for dinner, Eun-Joo acts like a manic basketcase, telling an anecdote about a man who took off his clothes whenever it rained, and cracking up, to which the relatives stare at her in stony silence. Is that why Mu-Hyun gives Eun Joo some medication? But it's more than that, as there is a ghostly presence in the house, which causes to have Mi-Hee, Mu-Hyun's sister-in-law, a raging fit. Su-Yeon is frightened by strange thumping sounds from the hallway and someone opening her door. And there is the by now much-used visual of the woman with long black hair covering her face in a nightmarish sequence. There are not one but two twists that necessitates one to think back to what has transpired and subsequently, to watch the movie a second time to see what actually happened. Both of them are double whammys that rival the revelations seen in say, The Sixth Sense, The Others, and The Usual Suspects. One clues is something Eun-Joo says at the dinner table to her guests--"our mum." The troika of female actresses really make this film work. Yeom Jeong-A as the temperamental Eun-Joo does great work here, playing a woman on the edge trying to validate her authority in a new household, as does Im Soo-Joong as Su-mi, who sees herself as the proper successor to her late mother. However, it's Moon Geun-Young as the cute but shy Su-Yeon who gets my vote as the best actress at work here. And let's not forget Kim Kab-Su as the father, a calm and quiet whose importance is seen in the end. Bit of trivia: the lullaby Su-Mi whistles and which Su-Yeon tries to whistle on the front porch must be popular in both Korea and Japan, as I remember my own mother singing that to me when I was young. While some of the suspense music owes a bit to Psycho, the tragic orchestral waltz, well exemplifies the theme of tragedy of the Bae family, a shadow of its former self after the death of the girls' mother. One of the best films I've seen recently. --- ## Why Shop on Desertcart? - 🛒 **Trusted by 1.3+ Million Shoppers** — Serving international shoppers since 2016 - 🌍 **Shop Globally** — Access 737+ million products across 21 categories - 💰 **No Hidden Fees** — All customs, duties, and taxes included in the price - 🔄 **15-Day Free Returns** — Hassle-free returns (30 days for PRO members) - 🔒 **Secure Payments** — Trusted payment options with buyer protection - ⭐ **TrustPilot Rated 4.5/5** — Based on 8,000+ happy customer reviews **Shop now:** [https://www.desertcart.in/products/5753364-a-tale-of-two-sisters](https://www.desertcart.in/products/5753364-a-tale-of-two-sisters) --- *Product available on Desertcart India* *Store origin: IN* *Last updated: 2026-08-05*