Last week's martial law debacle in South Korea, which nearly paralyzed the country and damaged its worldwide reputation, left many wondering about the odd nature of power grabs.

While the attempt, fortunately, had failed, one might expect better planning for such a flagrant assault on the country's democratic institutions. The bizarrely amateurish and poorly thought out execution has sparked renewed questions about the president's judgment, including whispers about his notorious drinking habits.

But perhaps that's politics in a nutshell: mythology from afar and farce up close. Strip away the veneer of distance, and you're left with something far more shallow — surprisingly inept individuals revealing their self-serving nature in moments of pressure. For those seeking perspective on power's inherent absurdity, these three Korean films offer particularly relevant viewing.

"The President's Last Bang" (2005)

"The President's Last Bang" turns the assassination of ruthless strongman Park Chung-hee into something approaching workplace satire. Unlike "The Man Standing Next" (2020), which offers a solemn historical treatment of the same event, director Im Sang-soo strips away all pretense to expose the grotesque pettiness beneath.

The seemingly invincible dictatorship collapses under the weight of human pettiness and cowardice. Cabinet members fumble through the president's final hours like clowns, their corridors of power ringing with desperation rather than resolve. High officials alternate between playing tough guy while the president's back is turned and cowering in bathrooms as they beg for their lives. The film's genius lies in presenting these mythologized figures of history as small and shallow — less tragic heroes, more confused human beings caught in their own game.

"Masquerade" (2012)

"Masquerade" approaches political theater through historical fiction, with director Choo Chang-min crafting a light-hearted yet pointed fable. When the throne of Joseon needs a body double, a lowly jester (Lee Byung-hun) ends up wearing the crown.

The humor emerges from watching the ceremonial court order crash against the fake king's down-to-earth pragmatism. The film's satire cuts deeper as the jester's common sense repeatedly outshines aristocratic formalities. By showing how easily an uneducated commoner can perform — and improve upon — the role of the supposedly divine monarch, "Masquerade" reveals ornate ritual as empty performance, power as merely well-rehearsed theater.

"Inside Men" (2015)

"Inside Men" drags political farce into modern Korea's shadowy villas and smoke-filled back offices. Here, corporate executives, journalists and politicians engage in what amounts to picaresque comedy, each a caricature of amoral ambition. Director Woo Min-ho finds bitter humor in their savage power plays, watching supposed masters of the universe brazenly frame naked self-interest as patriotic duty.

The film's most memorable line, where elites dismiss the masses as "dogs and pigs" -- a phrase that has become a staple in Korean political commentary ever since -- feels less like satire with each passing news cycle. Even the film's violence carries a streak of dark comedy, with sophisticated power brokers devolving into blood-soaked vendettas.