Get the latest entertainment news, reviews and star-studded interviews with our Independent Culture email Get the latest entertainment news with our free Culture newsletter Get the latest entertainment news with our free Culture newsletter The reason why my work was categorised as ‘violent’ or ‘grotesque’ is purely the fault of the British,” says Park Chan Wook, flashing a knowing smile in my direction. He smiles again, a minute later, when a translator repeats his words back to me. The revered South Korean filmmaker is joking, but may have a point: when Park first became a sensation in Western cinephile circles, in the early 2000s, it was British distributor Tartan that chose to market his films – Oldboy, Sympathy for Mr Vengeance, and Lady Vengeance – under the banner of “Asia Extremes”. “It wasn’t just Korean films, but Asian films – mostly horrors – that were included in that category, as well as my works,” Park says, sitting, legs crossed, on a sofa in a central London hotel suite. Admittedly, Park’s own macabre imagination was never …