Eun-yi believes she has agency in her relationship with Hoon, but the film continuously reminds the audience that to the wealthy elite, she is merely an object to be consumed and discarded.

The dynamic shifts drastically when Hoon seduces Eun-yi during a midnight encounter. This tryst sparks a passionate, secretive affair. When Eun-yi becomes pregnant, the secret is exposed, triggering a vicious, calculated psychological war. Hae-ra and her ruthlessly manipulative mother plot to destroy Eun-yi and force an abortion, leading to a dark, operatic, and tragic climax. Themes Explored: Power Dynamics and Social Satire

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Critics have praised the film's visuals and performances. Jeon Do-yeon puts in a "fine performance," and the film is "stylishly crafted" and "supremely entertaining". However, many critics and audiences have compared it unfavorably to the 1960 original, calling it a "plain remake" that "goes limp on subtext". Some found the film to be "boring" and the sex scenes "lackluster".

Despite its controversial content, The Housemaid was a major critical success and received significant recognition on the international stage. It was selected to compete for the prestigious Palme d’Or at the 2010 Cannes Film Festival. Critics have praised the film’s stunning cinematography, which uses the stark, beautiful lines of the mansion’s architecture to create an atmosphere of cold, beautiful isolation. The performances, particularly by Jeon Do-yeon and the legendary Youn Yuh-jung (who won an Oscar in 2021 for Minari ), were hailed as powerful and deeply moving, capturing the terror and desperation of a woman fighting against an immovable system.

The film is characterized by its opulent, sterile, white-dominated aesthetic, contrasted with the dark, hidden secrets of the characters.