As a seasoned cinephile who’s traversed the labyrinth of global cinema, I must say that “Sleep” is a remarkable addition to the canon of Korean ghost stories. It’s an intimate tale that masterfully balances suspense and humor, making it a compelling watch despite its relatively modest scale compared to some of its contemporaries.
Following the spring premiere of “Exhuma”, another Korean ghost story ready for export is now available. Interestingly, this story was released in South Korea months before “Exhuma”‘s domestic run. Arriving in North America from Magnet, approximately a year after its initial release, “Sleep”, directed by Jason Yu, can be seen as the counterpart to “Exhuma” in many ways – a more intimate home-focused narrative compared to the expansive, visually enhanced, and longer duration of Jang Jae-hyun’s global success. Both films provide an engaging twist on the theme of possession by a vengeful spirit, blending suspense with humorous character development.
Despite its commercial potential not being as impressive, “Sleep” might slightly outshine the other film. Unlike the larger movie that carries a strong political commentary, this one maintains a focused and succinct storyline, avoiding excessive action climaxes to instead deliver a clear direction. Additionally, it features an exceptional performance from Lee Sun-kyun, who gave his penultimate performance before taking his life last year amidst scandals surrounding drug abuse, a fact that made headlines offshore where he was recognized as the wealthy family patriarch in “Parasite”.
The story kicks off and concludes with the soft, amusingly annoying sound of a partner’s persistent snoring, setting the stage for our main characters – a harmonious couple who overlook each other’s trivial flaws. Hyun-sun (portrayed by Lee) is an actor, albeit one confined to minor roles on television thus far. Soo-jin (Jung Yu-mi), on the other hand, has a run-of-the-mill office job. Despite this, they appear relatively happy, eagerly anticipating their first child and caring for a Pomeranian named Pepper.
Initially, the tranquil scene is disrupted when Soo-jin is awakened by her husband’s snoring, or more accurately, its sudden silence. Upon investigating, she finds him sitting upright in bed, strangely uttering “Someone’s inside,” before falling back into a deep sleep again. If it weren’t for the eerie sounds echoing in their apartment in Seoul right after his sleep-talking, these peculiar events could be easily dismissed.
The following evening, Hyun-sun begins exhibiting sleepwalking behaviors. For over a week, a neighbor downstairs (Kim Gook-hee) has been hearing odd noises coming from their apartment, which seems illogical. However, as time passes, the husband displays increasingly bizarre actions during his sleep, with no recollection of them upon waking: He scratches himself fiercely, consumes uncooked meat from the refrigerator, and startles the dog. At one point, Hyun-sun’s wife prevents him from a possible fall, as he was being inexplicably drawn towards their high-rise apartment’s open window by an unseen force.
He’s diagnosed with a common sleep disorder, but the recommended treatments have little effect. Neither does a visit from a female shaman (Kim Kum-soo), who agrees with Soo-jin’s superstitious mother (Lee Kyung-jin) that what Hyun-sun needs is not medical attention but “divine intervention.” That intimidating lady thinks he’s being interfered with by a jealous ghost who wants our heroine for him/itself— away from the competing attentions of husband, pet and now newborn daughter. The paranormal entity’s actions duly grow more life-threatening towards exactly those parties.
The three-part series, titled ‘Sleep’, lasts approximately half an hour per segment. Unlike typical horror flicks that rely heavily on jump scares, it is more intriguing and engaging than frightening. It minimizes conventional horror tropes and employs minimal fantastical imagery and violence. Instead, it offers a realistic portrayal of inexplicable incidents that serve to drive a wedge between two individuals who are determined not to let go of each other.
In previous roles, these actors have portrayed a believable married couple due to their effortless chemistry. Jung’s character exudes a mix of innocent humor and over-the-top emotions that later transform into genuine, intense desperation. The film has garnered significant awards attention for Jung, particularly in her more flamboyant role. Lee, on the other hand, provides a balanced counterpoint with his sympathetic disbelief and heartfelt determination to protect wife and child. His performance serves as a poignant swan song to a career cut short prematurely.
Despite being primarily set within the protagonist’s residence, “Sleep” avoids feeling stagey or confined. Its rhythm is leisurely yet never languid, and the thoughtful production design elements enhance without overshadowing the deeply human dimension of this supernatural predicament. This subtly impactful tone may not immediately grab fans of more flamboyant (or gory) horror genres, but it showcases Yu as a promising new director with finely honed intuitions for fantasy-thriller storytelling. The intricate psychological insights and skillfully placed plot turns in his script are commendable, their relatability hinting at potential adaptation opportunities — though any such venture would likely emphasize the genre elements that Yu subtly emphasizes through understatement.
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2024-09-26 23:16