An early draft of the screenplay was written by Kim Soo-hyun, but after director Im Sang-soo had edited the script so heavily that Kim considered it to be entirely Im's own work, she decided to leave the project and publicly expressed her dissatisfaction. Although the film includes some key elements of the original, Kim Ki-young's The Housemaid from 1960, Im has said that he tried to never think of it during the production in order to come up with a modern and original work. One major difference between the versions is that the original film took place in the middle class, while the remake is set in an extreme upper-class environment. Im explains this with South Korea's social structure around 1960, which was a time when the country's middle class started to form and many poor people moved from the countryside to work in the cities: "women became housemaids who served not only for the rich but also the middle class and that issue had served as the basis to Kim Ki-young's work. What I realized upon reworking The Housemaid in 50 years was that there are much more wealthy people now, people who are millionaires. ... I wanted to depict the reality in which housewives from normal families have to undertake hard work too". The film was produced by the Seoul-based company Mirovision.
Im stated that the design of the house reflects a "traditional European lifestyle" enjoyed by wealthy people around the world in the 2010s and that "Myself, I find it questionable that this would be a life they genuinely enjoy or if it's not more for show." In the bird's-eye shots used in the film from time to time, a large ornate chandelier is an observer that looks down on the bourgeois family for which Eun-yi works. It also plays a role in the dramatic and tragic end of the movie's heroine. That chandelier in all its detail is actually a copy of the 2008 work "Song of Dionysus" created by artist Bae Young-whan. The decision to include the chandelier in The Housemaid was quite a deliberate one. At first glance, the light fixture looks like an elegant Art Nouveau craft, but a closer look reveals that its green glass pieces are actually sharp shards from broken wine and soju bottles. In the same sense, the high-class family members in the movie look elegant at a glance but are actually selfish and cruel enough to break their housemaid's heart.
Eun-yi is a young woman living in a tiny city apartment with her room mate. One day, an older woman by the name of Byeong-sik (Miss Cho) approaches Eun-yi to recruit her as a housemaid for a rich family. She accepts.
Eun-yi becomes an au pair for a wealthy family dominated by an egotistical patriarch, Hoon (LEE Jung-jae). Hoon's young wife Hae Ra is pregnant with twins, so Eun-yi is assigned to care for the couple's six-year-old daughter Nami. Hoon has a taste for expensive red wine, as well as for his au pair--forbidden fruit she is only too happy to share. But nothing gets past the mansion's head housemaid, Miss Cho.
There is also the cultural problem of the missing Main Character Throughline. Often missing altogether in Eastern storytelling, the housemaid herself is vaguely sketched and barely hinted at and never fully explored. Difficult to become engaged with a film that doesn't allow the Audience a doorway in. 781b155fdc