Korean horror films have made a significant impact in the United States, with titles like Train to Busan, The Wailing, and I Saw the Devil known for their intense narratives that often blend thriller elements with horror. The latest addition to this genre, Sleep, now in U.S. theaters, offers a refreshing twist with its playful tone.
Directed by Jason Yu, who previously worked as an assistant director to Bong Joon-ho on Okja, Sleep tells the story of a newlywed couple grappling with a sleep disorder that manifests as a potentially violent ghostly possession. This unexpected turn leads the film to oscillate between domestic drama and absurdity, often in comedic ways.
Soo-jin, played by Jung Yu-mi (Train to Busan), is the family’s breadwinner, while her husband, Hyun-su (Lee Sun-kyun from Parasite), struggles with his acting career as they prepare for parenthood. Soo-jin remains supportive, relying on the mantra, “Together we can overcome anything,” prominently displayed in their home.
Yu’s visual style, characterized by warm tones and tender compositions, initially creates a sense of security around the couple. This atmosphere is shattered when Soo-jin discovers a scratch on Hyun-su’s face after a night of severe sleepwalking. The following evening, she finds him consuming raw meat and eggs. Although doctors diagnose him with parasomnia, the condition escalates despite treatment.
As Hyun-su’s condition worsens, he edges closer to self-harm, and the couple faces sleepless nights amplified by the arrival of their baby. Sleep effectively evokes the horror of sharing a bed with an unpredictable entity, making viewers ponder the dangers lurking within their own homes.
Yu skillfully navigates Soo-jin’s psychological turmoil, capturing the duality of her role as a supportive partner by day and a vigilant protector by night. Jung Yu-mi’s performance echoes the primal intensity seen in The Babadook, portraying a woman slowly unraveling under the strain of her circumstances.
The plot thickens when Soo-jin and her mother consult an exorcist, Madame Haegoong, who suggests that a spirit is haunting their home through Hyun-su. Whether supernatural or not, Soo-jin realizes that as long as her husband’s sleepwalking continues, everyone is at risk.
Sleep explores various genre elements to evoke both laughter and unease, showcasing Yu’s ability to merge comedy with horror. The film’s memorable scenes, including a standout PowerPoint presentation, inject levity into the tension, all while maintaining a sense of danger surrounding Hyun-su’s condition.
With Sleep, Jason Yu makes a remarkable debut, presenting a film that defies conventions while still honoring the rich tradition of Korean horror. It stands out as both a compelling narrative and a fresh voice in the genre.
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