The Uninvited sets the extremity of infanticide between the two axes of childbirth and maternity, and severe depression and extreme poverty. It treats the world that Yun, a woman who can see what can’t be seen, and Jung-won, a man who must be made to acknowledge what he sees. The film is impressive in its careful and multifaceted treatment of extreme situations and problems. Most of all, it is remarkable for its skillful construction of mise-en-scene, such as the apartment, the subway, city scenes, labyrinths and/or ruins, that are interrelated but at the same time thoroughly isolated. The film isolates these distinct spaces and yet also vividly traverses the
 roads in between that both link and separate them, through single shots and also through cuts and editing. The image of Yun falling unconscious in a chillingly indifferent space is indescribably pitiful. The camera is frightfully exact in catching the spaces of everyday life. The sequence of the apartment viewed from the outside, and the image of people like rainfall are very impressive. In relation to the discourse of the politics of city space, The Uninvited evokes the historical and institutional inequities of the city of Chicago, addressed by the film The Candy Man, where the redevelopment of the ghettos formerly inhabited by African Americans is ground zero for corrupt politics. At the same time, it can also be read in comparison to the Taipei in Edward Yang’s Taipei Story, a modern city space where mystery, murder, crime, and illicit affairs happen. The film verified the talent of the director, Lee Soo-youn who designed elaborately complicated labyrinth of horror movie.