Revelations Review

Life presents many wonders and opportunities—some fleeting, others lasting a lifetime. It is safe to say that everyone has experienced coincidences that felt as if they were destined to happen or guided by an unseen force. Ultimately, though, a coincidence is just that—something without deeper meaning, incapable of justifying the actions we take. But what if coincidences serve a purpose? What if they are signs from God?

Revelations, the latest film by Yeon Sang-ho, masterfully explores this idea, using the framework of an abduction thriller to examine how people justify their actions. The result is a truly nail-biting experience.

On her way to church, middle schooler A-Yeong believes she is being stalked by Kwon Yang-rae (Shin Min-jae), a stranger who follows her inside. Concerned, Pastor Min-chan (Ryu Jun-yeol) approaches Kwon, assuming he is new and potentially looking to with the church. As part of the application process, Min-chan takes Kwon’s photograph, prints it out, and places it beneath a drip. When Kwon ultimately refuses to , Min-chan notices something unsettling as he watches him leave—an ankle monitor.

Later, Min-chan receives a frantic phone call from his wife, wailing that their son has been kidnapped. As he stares at Kwon’s printed photo, he realizes the dripping water has distorted the image, morphing it into a devil-like figure. Convinced this is a divine revelation, he becomes certain that Kwon is responsible for his son’s disappearance.

There is more to this narrative than meets the eye, especially with the introduction of Detective Yeon-hee (Shin Hyun-been), a member of the squad investigating the kidnapping. She is haunted by the ghost of her deceased sister, whom Kwon once tortured.

The screenplay, written by Yeon Sang-ho and Choi Gyu-seok, could have easily become overwhelming, struggling to balance its many layers. Yet, Revelations masterfully weaves its thematically rich and blood-curdling plot into a gripping experience. From the tense opening—where A-yeong is stalked like prey by Kwon—to the unrelenting suspense that follows, the film had me on edge. The tension remains constant, delivering numerous twists and turns that keep you guessing right up to its thrilling climax.

A core theme of the film is how we justify our actions. Min-chan experiences a series of coincidences, interpreting them as divine messages from God. Convinced that he is receiving guidance from the Holy Spirit, he spirals into increasingly deranged and sinister behavior. One particularly chilling moment sees him confronting his wife’s infidelity, using his so-called revelations as justification for both physical and verbal abuse. Meanwhile, Kwon rationalizes his own acts of torture and kidnapping by blaming the “one-eyed monster”—a manifestation of the childhood abuse he suffered at the hands of his father.

Exploring this concept through the lens of religion is a bold choice, especially given the problematic nature of claiming that “God made me do it.” Revelations expertly critiques both Min-chan’s and Kwon’s actions, making it clear that these are mere excuses—a shield they wield to justify their descent into darkness. This phenomenon is far from fictional; we have seen it in recent years, particularly in politics, where individuals weaponize the Bible to defend homophobic and misogynistic policies.

Detective Yeon-hee serves as the antithesis to both Min-chan and Kwon. She is a grief-stricken, deeply depressed woman who cannot escape her sister’s final words—how, every time the door opened, she hoped it was Yeon-hee coming to rescue her, but it was always Kwon. Haunted by this memory, Yeon-hee is personally invested in the kidnapping case, determined to be the one who opens the door this time. If she fails, she will forever blame herself for what has transpired. This raises a crucial question: is she also trying to justify her own actions? And will she let her inner demons consume her, leading her down a dark path?

The film’s success is driven by its remarkable performances. Ryu Jun-yeol is astonishing as Pastor Min-chan, portraying his gradual descent from a kind and hopeful pastor—one who genuinely wants to do good—into a man convinced he is enacting the will of God. It is a transformation unlike anything I have encountered before. This is beautifully contrasted by Shin Hyun-been’s performance as Detective Yeon-hee. She is reserved yet intensely perceptive, picking up on the smallest details that could change everything. When she finally opens up, she reveals a deep inner brokenness, unable to forgive herself for her sister’s fate and desperate to redeem herself in her memory.

Visually, Revelations is a constant marvel. The depiction of God within the environment is achieved through a stunning blend of practical and digital effects. Each time God appears, it is a breathtaking sight—one that makes you want to rewind and take in every detail again. When the ghost of Yeon-hee’s sister manifests, a mesmerizing camera effect is employed, likely achieved by stabilizing the footage in post-production. This creates a surreal sensation, where the background seems to float and glide across the frame while the characters remain static and sharply in focus. And that isn’t even touching on the superb one-shot action sequence, which utilizes the oner technique not just for spectacle but to heighten the tension masterfully.

Train to Busan, even that film did not leave a lasting impact on me. Revelations feels like the culmination of years of dedication and refinement. This may be due to its shift toward realism—unlike his past projects, which have always featured a fantastical element, this film is more grounded in its approach while still being deeply unsettling.

Revelations is undeniably a masterwork—an edge-of-your-seat thriller layered with thematic depth, gripping performances, and breathtaking visuals. It is a true masterpiece.