Przewrotność dźwięku i fotografii pośród nieuniknionego odwetu: „Pan Zemsta” i „Pani Zemsta” Chan-wook Parka

The article presents an analysis of two films by Chan-wook Park in the context of the so-called sensual key, as well as in the light of selected categories, such as: acoustic space, colour, and the meaning of photography. The films mentioned are linked by the subject of retaliation, the coexistence of works as part of the “revenge trilogy”, as well as the formal layer — also in the sens e of auteur cinema. Another component of the text is the consideration of the influence of the means of cinematic expression on the viewer, as well as the correlation of the sound layer with the image layer.The article presents an analysis of two films by Chan-wook Park in the context of the so-called sensual key, as well as in the light of selected categories, such as: acoustic space, colour, and the meaning of photography. The films mentioned are linked by the subject of retaliation, the coexistence of works as part of the “revenge trilogy”, as well as the formal layer — also in the sens e of auteur cinema. Another component of the text is the consideration of the influence of the means of cinematic expression on the viewer, as well as the correlation of the sound layer with the image layer