On March 21, 2025, Netflix premiered Revelations, a South Korean thriller that explores complex themes of faith, trauma, and morality. Directed by Yeon Sang-ho, the film features Ryu Jun-yeol in the role of Pastor Sung Min-chan and Shin Hyun-been as Detective Lee Yeon-hui. The narrative centers around the mysterious disappearance of a young girl named A-yeong and a convicted sex offender, Kwon Yang-rae, played by Shin Jae.
The film leaves audiences pondering two crucial questions: Who is the so-called “one-eyed monster,”and what ultimately happened to A-yeong? In this context, the one-eyed monster is not an actual creature but a potent metaphor for Yang-rae’s tumultuous past, significantly linked to an oculus window from his childhood.
Detective Yeon-hui manages to locate A-yeong alive in a building adorned with a similar window, proving to be just in time to prevent a tragic fate.
DISCLAIMER: The opinions expressed in this review are solely those of the author. This article features spoilers for Revelations.
An Insight into the Characters: Pastor Sung and Detective Yeon-hui
At the heart of Revelations is the journey of Pastor Sung Min-chan and Detective Lee Yeon-hui. Pastor Min-chan, a devoted leader, grapples with the pressures of a rival megachurch that threatens his community. His personal turmoil escalates when he suspects that a recently released criminal is behind the abduction of his son.
Simultaneously, Detective Yeon-hui, tormented by her sister’s past abduction, confronts the same suspect, leading her to question the nature of justice and revenge. Their interconnected stories unfold, fueled by desperation and faith as they pursue their separate yet intertwined missions.
Unpacking the Climax: The Confrontation and its Aftermath
The film’s climax culminates in an intense confrontation involving Min-chan, Yang-rae, and Yeon-hui. Driven by what he believes to be divine guidance, Min-chan kidnaps Yang-rae, intending to murder him. However, Yang-rae cryptically confesses he knows A-yeong’s whereabouts, mentioning a “one-eyed monster”that devoured her—this cryptic reference serves as the crucial clue needed to unravel the mystery.
As the plot unfolds, Yeon-hui discovers through dialogue with her father that Yang-rae was victimized as a child in a house with an oculus window, reminiscent of a single eye. This window becomes a haunting metaphor for his traumatic experiences, instigating an escalation in his violent behavior upon encountering similar architectural features. The “one-eyed monster”symbolizes the trauma that has haunted Yang-rae, rather than representing a tangible entity.
Realizing time is of the essence, Yeon-hui races to save A-yeong after piecing together the information of her father’s renovation project. The climax of the film unfolds as she manages to rescue A-yeong from near doom just as the building is set for demolition— this act not only completes her mission but also offers a pathway toward healing from the guilt of her sister’s abduction.
Post-confrontation, Pastor Min-chan faces the consequences of his actions as he is apprehended for kidnapping. Initially convinced that his violent acts were divinely sanctioned, his beliefs begin to crumble when Yeon-hui informs him of A-yeong’s survival. Faced with the reality of his delusions, he must contend with the implications of his faith.
In a chilling conclusion, Min-chan spots a stain on his prison wall resembling Jesus and attempts to erase it, prompting viewers to question whether he has truly escaped his delusions or continues to be ensnared in his warped beliefs.
Concluding Thoughts: The Lingering Questions
Ultimately, Revelations poses a thought-provoking query: Are the signs we perceive divine in nature, or merely reflections of our inner fears and desires? The film’s ambiguous conclusion ensures this question resonates long after viewers have left the screen.