‘No Other Choice’: A Brutal And Maddening Meditation On Capitalism
As one of the leading South Korean filmmakers and one of the best directors working today, Park Chan-wook always draws audiences whenever he puts a film out. He is most well-known by Western audiences for his Vengeance Trilogy, specifically the second entry, Oldboy. His latest film, No Other Choice, is certainly less absurd, mind-bending, and violent compared to Oldboy, but it still has all the hallmarks of Park’s style, as well as being particularly poignant and resonant in this day and age.
Released on Wednesday, September 24, 2025, No Other Choice is a South Korean satirical black comedy thriller directed by Park Chan-wook. It is based on the horror/thriller novel The Ax by Donald Westlake and stars Lee Byung-hun, Son Ye-jin, Park Hee-soon, Lee Sung-min, Yeom Hye-ran, and Cha Seung-won. The film follows Yoo Man-su, played by Byung-hun, a paper industry expert who is suddenly fired from his job. All at once, the lack of income starts to affect his family, forcing them to give up their dog, potentially sell their home, and ignore major health concerns. His search and inability to acquire a job force Man-su to an unusual strategy: eliminate his competition.
That plot summary alone is enough to intrigue anyone, and Chan-wook does everything he can with the concept. The film wisely takes its time building towards Man-su’s decision to enact this insane scheme, showing each detail of his firing and the consequences of it. The audience sees in meticulous detail how the family life unravels, forcing Man-su’s wife and children to give up the things they love doing for the sake of keeping things ticking along. The message is delivered bluntly: no matter who you are or what you love, you are nothing but a worker to the bosses above you, and they care little for your loves and needs. This build-up is necessary to convince the audience that Man-su’s scheme is believable and the only way, basically living up to the film’s title.
When his plan is put into action is where the film really hits its stride. Man-su’s methods of eliminating his fellow job searchers are remarkably clever, yet also stupid. The comedy is derived both from the absurdity of it all and the classic moments of things simply going wrong. The film also takes its time fleshing out each of Man-su’s victims, illustrating that they are all truly victims of capitalism, with lives of their own that they can no longer afford to sustain. It illustrates the nature of capitalism, forcing employees to climb and overcome each other just for the sake of better opportunities and more money. Chan-wook keeps the message front and center but manages to pull off an excellent balancing act by ensuring the characters are well-developed and allowing the message to come across naturally through their actions.
The script itself is littered with details and clever wit. Perhaps the standout example is how frequently the characters utter the phrase “No other choice.” As the name of the film, it stands out each time it is mentioned, yet at no point does it feel forced. Park Chan-wook allows it to occur naturally in the dialogue, allowing the phrase’s thematic significance to come across to the audience. Many characters say it, and it thus shows how the capitalist system pushes everyone to desperation.
Every cast member gives it their all in this film, but the star of the show is Lee Byung-hun. His performance makes this film great. Man-su’s desperation and anxiety come across brilliantly in Byung-hu’s acting. His competence and scheming brilliance are matched only by his haplessness and stupidity. Man-su goes from carefully planning his victim’s demise to haphazardly disposing of the evidence of the murder. Furthermore, Byung-hun perfectly conveys Man-su’s loss of and desire for purpose. His enthusiasm at the start of the film is crushed upon being fired, leaving him with nothing to keep him going.
The second standout is Son Ye-jin as Lee Miri, Man-su’s wife. Both have excellent chemistry in every scene, and the character herself is full of unique twists and turns. Miri is the first to start cracking down on the family’s spending to save money and works as a good contrast to Man-su, who obsesses over maintaining the same job, while she carries on with her work and ensures the family gets through in one piece. Ye-jin injects the character with great interiority; Miri’s doubts over Man-su’s fidelity and the pressure of making ends meet eat away at her. The script then subverts the audience’s expectations when Miri inevitably discovers her husband’s misdeeds, and instead of reporting him, she chooses what is best for the family.
Every supporting cast member is excellent, particularly those who play Man-su’s victims. In just a short amount of screentime, they are made instantly memorable and enjoyable, meaning the audience can at least sympathize with them before Man-su kills them. It makes each kill emotionally troubling for both Man-su and the audience, but he only becomes more determined as the film progresses.
All this is masterfully realised through Park Chan-wook’s incredible skill as a director. The camera almost feels alive with the way it moves. There are angles and shots that seem unnecessary and extra, but impress regardless, and a handful of long takes, allowing the realism to take center stage during moments of absurdity. The use of color throughout the film works well to showcase the stages of Man-su’s life. Bright, idyllic colors at the start of the film are contrasted by the end, where everything becomes greyer. The editing is excellent as well. There is a frequent use of dissolves, which act as markers of moving on. All these choices lend to an excellent balance of absurdity and realism, which bluntly communicates the message of the film in an insane manner.
The ending of the film further compounds this, leaving the audience with a bleak and cynical view of the future. The competition is well and truly crushed, with Man-su now back on top of the world, alone. From his perspective, he did what was necessary, but for the audience, he becomes a pitiful figure, slavishly devoted to his work and molded by the system into the perfect worker, happy to have his job back. Man-su is blissfully unaware of the fact that what happened before will likely happen again, and the irony comes in the fact that he is surrounded by machines rather than people. The next arbiters of his removal from the workplace.
Overall, No Other Choice is a remarkable film. It is visually outstanding with amazing cinematography, lighting, and editing. It is a treat to simply look at, but it is really worth seeing for its biting commentary, its rich characters, and excellent lead performances. No Other Choice is one of the best films to come out of 2025, especially on a technical front.