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.

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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.

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