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Film Review: While You Were Sleeping (2024) by Jang Yoon-hyeon

While You Were Sleeping still

The concept of amnesia (and memory loss in general) has been repeatedly used in cinema, both in thrillers and in drama, as it allows for various interpretations (from actual to fake ones) while it can also be the main medium of an atmosphere of disorientation. , more than 11 years after “Gabi” returns with a family drama that focuses on exactly this concept.

Joon-seok, a successful author, and Deok-hee, an art instructor, are a happy couple who have, however, a significant issue, since she is suffering from selective amnesia. Although her situation is improving with time, there is still a lot she does not remember, particularly regarding the last years before the accident. Joon-seok treats her with patience and kindness, and it her love for him starts blooming again. At the same time, it seems that something is not exactly right, and the behavior of some of the people around the couple is strange, to say the least. When a tragedy happens, things begin to become more and more clear, and the shocking truth is eventually revealed.

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Jang Yoon–hyeon directs a film whose main purpose is to create an atmosphere of disorientation, before he disperses it for intense dramatic effect and a twist that is actually quite hard to predict. The approach he implements to do so is derived from both the script and Shim Min-kyung's editing, particularly in the placement of flashbacks within the narrative. In that fashion, as Deok-hee's memory gradually and very slowly returns, we are witnessing how the relationship of the two started, how they ended up married, and the issues that eventually tormented the couple. At the same time, the present arc progresses in a way that actually creates more questions about what is happening, and particularly the reasons for Joon-seok's behavior, which does become erratic after a point.

In that fashion, the narrative moves to a number of paths, until essentially it becomes a kind of detective film, with Deok-hee gradually finding clues that point her towards the truth. The twist that comes close to the end is truly unexpected, something that actually derives from Jang's direction, with him forcing his audience towards thinking something completely different, only to shatter any misinterpretation after a point.

Although this last element is quite intriguing, the overall approach here has a number of issues. For starters, it becomes apparent that Jang is somewhat lost within the atmosphere of disorientation he wanted to implement, with the film becoming more confusing than it should be, particularly during its mid-point. In the same fashion, the flashbacks end up confusing instead of adding mystery, particularly due to the fact that they concern the same few characters. Furthermore, after the twist is revealed, Jang does not avoid the reef of forced sentimentality, with the movie going too far in its melodramatic notions and the tragedies that have befallen a single family. Deok-hee's persona, and particularly her notion that she is an unlucky person whose misfortune rubs on the people around her does justify this to a point, but definitely not completely.

On the other hand, the technical aspects of the movie are on a high level. The polished cinematography works quite well for the aesthetics of the movie, while the way the apartment is implemented adds nicely to the whole atmosphere.

is impressive as Deok-hee, both in her acting and her overall appearance, with her charisma being quite evident throughout the film. In a rather demanding role that has her flirting, loving, being confused, angry and shocked, she is rather convincing, maybe with the exception of some rather melodramatic moments, where the overall sense of measure is lost. as Joon-seok is good as the struggling partner, although I felt that he is better in his interactions with others, and not with Choo Ja-hyun.

” had the potential of becoming an excellent drama/thriller but some issues with the direction and the script prevented the project from reaching its true potential. It still deserves a watch though, particularly for the twist and Choo Ja-hyun's presence.

About the author

Panos Kotzathanasis

My name is Panos Kotzathanasis and I am Greek. Being a fan of Asian cinema and especially of Chinese kung fu and Japanese samurai movies since I was a little kid, I cultivated that love during my adolescence, to extend to the whole of SE Asia.

Starting from my own blog in Greek, I then moved on to write for some of the major publications in Greece, and in a number of websites dealing with (Asian) cinema, such as Taste of Cinema, Hancinema, EasternKicks, Chinese Policy Institute, and of course, Asian Movie Pulse. in which I still continue to contribute.

In the beginning of 2017, I launched my own website, Asian Film Vault, which I merged in 2018 with Asian Movie Pulse, creating the most complete website about the Asian movie industry, as it deals with almost every country from East and South Asia, and definitely all genres.

You can follow me on Facebook and Twitter.

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