The delectable aroma of whipping up Kimbaps wafts across the screen. On the eve of a campaign rally, Yeon-hong (played by Son Ye-jin), a submissive housewife of Jong-chan (Kim Joo-hyuk) who runs to be elected to the national assembly, is busy lionzing the campaign staffers. A somber mood pervades their home, on the first day of campaigning, their daughter, Min-jin (Shin Ji-hoon) goes missing.
A swirl of unsettling yet delightfully eccentric music is sliped in when Yeon-hong racks her brain to solve the mystery while Jong-chan is preoccupied with his campaign. Ominous allusions ebb and flow as the plot oscillates between the past and present. As a The Wailing-esque sequence abruptly segues to the crux of the film, Yeon-hong goes berserk.
The film features what may very well be Son Ye-jin’s boldest performance to date. The story is triggered and driven toward by the hysterical standard of her. With a startling concoction of anxiety and madness, Son pulled off the evolved version of Crush and Blush‘s Yang Mi-suk, and she also nailed stun gun wielding.
The film, in which everything is calculated to transfix the audience and pick apart social irregularities, is frenetically paced, peppered with twists and monologues and permeated by a tense sense of foreboding, with flecks of coral pink.
Although The Truth Beneath didn’t set the local box office on fire, director Lee Kyoung-mi garnered a cult following for her directorial dexterity; cranking up the suspense in a gimmicky way, she took her otherworldly storytelling to a whole new level.