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| ▲ This still photo of South Korean film "The Trunk" is provided by Netflix. (PHOTO NOT FOR SALE) (Yonhap) |
SEOUL, Nov. 29 (Yonhap) -- The Trunk, a new Netflix original series starring Gong Yoo and Seo Hyun-jin, explores the blurred lines between reality and illusion in relationships, unveiling its intricate narrative to audiences.
The story begins with No In-ji (Seo Hyun-jin), a contract wife for one year, bluntly telling Jung Won (Gong Yoo), a reclusive music producer scarred by childhood trauma, "I’m not trying to seduce you. So, feel free to be yourself around me." Despite being strangers and having no romantic connection, they enter into a contractual marriage—arranged at the recommendation of Jung Won’s ex-wife, Lee Seo-yeon (Jung Yoon-ha).
This unconventional union, set to end after a year, provides unexpected solace for both. Though outsiders may see them as an abnormal, fake couple, the pair finds comfort in each other's presence.
Jung Won, a wealthy but tormented figure, relies on medication to sleep, haunted by memories of his father’s violence and his mother’s cries. He clings to Seo-yeon, who responds with a mixture of compassion and detachment, even proposing an absurd demand for a one-year contracted marriage to maintain their connection.
In contrast, In-ji’s views on marriage have soured after being jilted before her wedding. Channeling her bitterness, she works at a premium contract marriage agency, having been through four such marriages herself. Her new “husband,” however, is different—physically sound but mentally fragile.
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| ▲ This still photo of South Korean film "The Trunk" is provided by Netflix. (PHOTO NOT FOR SALE) (Yonhap) |
The series raises poignant questions about marriage, relationships, and emotional scars. Despite their artificial setup, Jung Won and In-ji form a genuine bond. In-ji's ability to embrace Jung Won stems from her own deep emotional wounds, while Jung Won finds peace and vulnerability in her presence, symbolized by his ability to sleep without medication for the first time in years.
The narrative takes a dramatic turn when a massive chandelier, a source of Jung Won's trauma, shatters, and In-ji shields him from falling glass, shedding blood in the process. The act symbolizes the depth of their evolving connection.
Director Kim Gyu-tae remarked at a press conference, “It’s a journey of finding authenticity in unreal circumstances, discovering true love in a false setup. I wanted viewers to interpret In-ji and Jung Won’s ‘redemption story’ in their own way.”
Beyond its gripping premise, The Trunk stands out for the nuanced performances of Gong Yoo and Seo Hyun-jin. Known for their romantic roles, the duo dials down the intensity to portray fragile, ambiguous emotions. Characters hide their desires behind stoic expressions, revealing conflicted feelings only when they seep through like overpacked luggage in a rigid trunk.
The twisted dynamic with Seo-yeon also plays a crucial role. As Jung Won clings to her, she derives satisfaction from his dependence while forcing him into a contract marriage she describes as both “punishment and vacation.” Her possessiveness peaks when she watches Jung Won destroy a car in a fit of jealousy and grows anxious as he attempts to break free from her control.
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| ▲ This still photo of South Korean film "The Trunk" is provided by Netflix. (PHOTO NOT FOR SALE) (Yonhap) |
Adding to the tension is a mysterious corpse discovered near a foggy lakeshore, a trunk, and a suspicious man lingering around In-ji.
The series is visually striking, with the spiral staircase, oversized chandelier, and unconventional arches in Jung Won's home creating an unsettling atmosphere. Music further enhances the storytelling, from tango melodies underscoring intimate moments to white noise amplifying unease during quiet scenes.
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| ▲ This still photo of South Korean film "The Trunk" is provided by Netflix. (PHOTO NOT FOR SALE) (Yonhap) |
Directed by Kim Gyu-tae, known for works like That Winter, The Wind Blows and It’s Okay, That’s Love, the eight-episode series released its first five episodes to the press.
However, the show’s use of explicit scenes as narrative devices has drawn mixed reactions. Prolonged scenes involving Seo-yeon and her remarried husband, or Jung Won’s traumatic flashbacks of his parents’ abusive relationship, may feel excessive to some viewers.
Director Kim defended these choices, stating, “The intimate scenes were necessary to convey the characters’ emotions and circumstances. They were not intended as mere provocations.”
The Trunk dives deep into themes of love, pain, and redemption, leaving viewers to navigate the murky waters of its complex emotional landscape.
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| ▲ This still photo of South Korean film "The Trunk" is provided by Netflix. (PHOTO NOT FOR SALE) (Yonhap) |
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