The complex, often fraught relationship between mothers and daughters forms the emotional backbone of Somebody (Korean title ‘침범’, meaning “invasion/violation”), the remarkably assured 2024 feature debut from Korean co-directors Kim Yeo-jung and Lee Jung-chan. Blending psychological drama with elements of suspense, Somebody presents a quietly devastating portrait of generational trauma, anchored by strong performances and a bold, if occasionally uneven, narrative structure.
From its opening scenes, the film plunges us into an unsettling domestic dynamic. Young-eun, a swimming instructor and single mother, is struggling to control her seven-year-old daughter, So-hyun, whose violent and unpredictable behaviour steadily escalates. As the tension builds, the audience is gripped by a sense of unease, a feeling that is only intensified by the film’s deliberate pacing and atmospheric cinematography. Gi So-yoo’s performance as young So-hyun is nothing short of remarkable, she conveys a haunting combination of innocence and menace with chilling precision.
A shocking and unexpected incident splits the film into two timelines, leaping ahead 20 years and introducing a new cast of characters, including a mysterious death scene cleaner, portrayed by Kwon Yuri of K-Pop girl group, Girls Generation. While time has passed, the consequences of that early trauma continue to reverberate, shaping the lives of everyone connected to So-hyun’s past. As the puzzle pieces slowly fall into place, Somebody morphs into a tense psychological mystery, with themes of guilt, identity, and psychological repression coming to the fore.
The film is stunning and visually engaging. The use of camera angles and framing serves not only to heighten suspense but also to reflect the emotional states of the characters. Quiet, introspective scenes are contrasted with moments of stark tension, creating a rhythm that mirrors the underlying instability of the story. The sound design, while subtle, enhances the atmosphere of dread that permeates the film.
However, Somebody is not without its imperfections. The pacing, particularly in the first hour, may feel sluggish to some viewers. While the slow-burn style is a hallmark of many Korean films, often allowing for richer character development, here it occasionally drifts into territory that feels more like filler than foundation. Several scenes seem to delay rather than deepen the plot, contributing to a feeling of narrative inertia. It’s not until the third act that the story gains significant momentum, with a pivot that is at once predictable and yet emotionally effective.
One of Somebody’s more divisive choices is its minimalist approach to character motivation. While the core emotional arcs are eventually made mostly clear, secondary characters are often presented with little exposition. Actions are shown without being explained, and while this ambiguity can enhance the film’s psychological complexity, it can also leave viewers wanting more clarity, particularly regarding the adult So-hyun and those around her. At times, this lack of depth can make it difficult to fully invest in the emotional stakes of the film.
As a psychological thriller, Somebody leans more into mood and emotional ambiguity than overt suspense or dramatic twists. While Somebody is marketed as a psychological thriller, it unfolds more like a slow meditation on inherited pain and identity. Viewers expecting a more conventional western genre experience may find the film’s emotional restraint and narrative opacity somewhat unsatisfying. Still, for those drawn to quiet unsettling storytelling, Somebody delivers an atmospheric experience rich in subtext.
The final act is where Somebody truly shines. The scattered narrative threads begin to converge, and the emotional payoffs, some delayed for nearly the entire runtime, finally emerge. Although not all questions are answered, the film’s conclusion is poignant and thematically resonant, leaving space for reflection long after the credits roll.
In the end, Somebody is a film that rewards patience and close attention. Though it may struggle with pacing and thematic overload at times, it offers a unique voice and a confident directorial vision. It’s a moody, layered work that lingers in the mind, offering just enough mystery to keep you thinking and feeling long after it ends. As a debut, it’s an impressive achievement and is one that suggests both Kim Yeo-jung and Lee Jung-chan will have bright futures ahead in Korean cinema.
Somebody (침범) is currently screening as part of the 2025 Sydney Film Festival. For more information and ticketing visit:
https://www.sff.org.au
https://www.sff.org.au/program/event/somebody