South Korean director Yeon Sang-ho achieved global acclaim in 2016 with his distinctive zombie horror film, Train to Busan. He continued to develop his zombie universe with the animated prequel Seoul Station and the action-filled Peninsula. In his newest project, The Ugly, Yeon shifts from creatures to craft a haunting thriller.

Like Train to Busan, this film revolves around a father and his child. However, rather than a dedicated businessman learning to prioritize his daughter, The Ugly explores the dynamics between a single, diligent father and his adult son. The insights gleaned from this family narrative are more somber compared to those in Train to Busan.

Brace yourself.

What’s the story of The Ugly?

Yeon adapted his initial graphic novel, Face, for the screenplay, which chronicles the life of Dong-hwan (Park Jeong-min), a Korean man in his forties working alongside his blind father, Yeong-gyu (Kwon Hae-hyo), a renowned engraver. Dong-hwan has been by his father’s side throughout his life, witnessing his triumph over trials and mockery to achieve success and acclaim, being hailed as a “living miracle” for his engraving abilities.

Dong-hwan is fatigued by the adoration, which is where The Ugly begins. A television producer, Su-jin (Han Ji-hyeon), is hounding Yeong-gyu for an interview when Dong-hwan receives a strange phone call. Authorities have uncovered a stack of bones on a mountainside, and the identification card found with them indicates they may belong to his mother, Young-hee, who vanished four decades prior.

With Su-jin’s assistance, Dong-hwan seeks to discover what transpired with his mother and who she was — and whether she was ugly.

The Ugly challenges the definition of “ugly.”

All Dong-hwan knows about his mother is that she abandoned him and his father. With her death confirmed, those who knew her have plenty to say. Long-lost relatives, former colleagues, and her previous employer all concur on one point: She was unattractive.

Disguised as a writer for a television documentary, Dong-hwan gains an unfiltered perspective from these strangers, who liken his mother to a monster and ridicule her moniker, Dung Ogre. They recount tales meant to highlight her shortcomings. However, Dong-hwan perceives a woman who pointed out harsh realities, even when it was unwelcome.

Yeon Sang-ho withholds a crucial element to maintain viewer engagement.

Dong-hwan desperately wishes to see his mother. He was too young to have memories of her, and his blind father possesses no photographs. Her family asserts she shunned cameras due to her “ugliness.” A picture would aid Dong-hwan in remembering her at her funeral and making her tangible for him.

Yeon depicts Dong-hwan’s quest to comprehend his mother through flashbacks from his viewpoint. Even when others label her “ugly,” her face is never revealed. It’s either hidden by her hair or out of focus. The audience is prompted to evaluate her based on her actions, as her son does.

Yeon Sang-ho presents a twisted tale of crime.

The answers to the murder mystery aren’t astonishing but are intricately crafted. Dong-hwan takes on the role of a detective, piecing together who might have desired his mother’s death. The revelations are satisfyingly heart-wrenching.

In searching for his mother, Dong-hwan gains deeper insights about his father. He observes how his parents faced challenges differently, prompting him to question whom he resembles. Su-jin observes early on that Dong-hwan looks like his father, but “resembles” takes on a more profound significance as he discovers unpleasant truths. In what ways is he akin to his parents? This question lingers.

Ultimately, The Ugly is an enthralling thriller filled with dark twists, culminating in a closing scene reminiscent of a monkey’s paw curling. What if what you wish for is what you get? Can you endure it?

The Ugly was critically assessed following its world premiere at the Toronto International Film Festival.