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The Last Princess

The Last Princess

Action · Drama · History · 2016

Under the oppressive Japanese colonial rule, Deok-hye, the last Princess of the declining Joseon Dynasty, is forced to move to Japan. She spends her days missing home, while struggling to maintain dignity as a princess. After a series of failed tries, Deok-hye makes her final attempt to return home with help of her childhood sweetheart, Jang-han.

Movie details

The Last Princess

“Based on the true story of the last princess of the last empire.”

2016 Action · Drama · History 2h 6m

Critical arithmetic

One number, for now.

TMDB

6.6 / 10

Community rating

Under the oppressive Japanese colonial rule, Deok-hye, the last Princess of the declining Joseon Dynasty, is forced to move to Japan. She spends her days missing home, while struggling to maintain dignity as a princess. After a series of failed tries, Deok-hye makes her final attempt to return home with help of her childhood sweetheart, Jang-han.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Last Princess?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Hur Jin-ho

Written by

Hur Jin-ho · Seo You-min · Choi Geun-ho · Kim Hyeon-jeong

Son Ye-jin

Son Ye-jin

Princess Deok-hye

Park Hae-il

Park Hae-il

Kim Jang-han

Yoon Je-moon

Yoon Je-moon

Han Taek-soo

Ra Mi-ran

Ra Mi-ran

Bok-soon

Jung Sang-hoon

Jung Sang-hoon

Bok-dong

Park Joo-mi

Park Joo-mi

Yang Gwi-in

Park Soo-young

Park Soo-young

Prince Yeongchin

Court is in session

Put The Last Princess on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.