In which I am too lazy to tackle redemption

The last three S.Korean films I've seen have all had heavy doses of Christianity: Host and Guest, Sa-Kwa, and tonight, the stunning Sympathy for Lady Vengeance. For a country with the largest percentile Christian population in Asia, it's been completely absent in every movie I've seen--however, in Korea you can't get away from the door-to-door Jesus salesmen--it's far more common than it is here in the states. Lady Vengeance begins with a band of Christians in Santa Claus outfits waiting to greet their star jailhouse Christian success story as she is released from prison. Unlike Denzel in Man on Fire, though, she isn't interested in using religion as a solace for her wounded soul--it's just a get-out-of-jail-freeish card. Speaking of solace, the detective that botched the case that put the good lady in jail hums a little "What a Friend We Have in Jesus" while being forced to watch the tapes of the children who died because of his mishandling: "We shall find a solace there." But there's no solace for him, either. As in all the other Chan-Wook Park vengeance movies, (and unlike Man on Fire), no redemption is possible once she's started. Or is the possibility there? Unlike Park's earlier movies, this object of vengeance has no other side presented--he deserves everything he gets, just like the folks in the Tony Scott movie. And the final shot, showing the lady devouring purity and being forgiven by her child, with a stand-in for the unforgiving first victim watching passively, suggests that maybe every life isn't completely destroyed after all. So does it become just another US style Death Wish film then? I can't figure Park's take on redemption; John Woo is pretty explicitly Christian when it comes to redemption and sacrifice--Park seems to mock it, up until the last scene.
No one in the theatre for the opening night screening: four college boys quoting favorite lines from Stephen King's Gunslinger books, one guy in front of me who left in baffled disgust midway through (the plot takes some doing to unravel, and has odd comic digressions).
I loved it.
Final scene category: tableau, camera pulls back.