Yoon Ga-eun has spent much of her career exploring the lives of children and teenagers, paying attention to the feelings, insecurities and difficult experiences that adults often fail to recognise or take seriously. From her early short films Guest (2011) and Sprout (2013) to her acclaimed features The World of Us and The House of Us, she has shown an exceptional understanding of how young people think, behave and respond to the world around them, often finding considerable emotional depth in situations that might initially appear quite ordinary. With The World of Love, her third feature, Yoon ventures into considerably more disturbing territory, confronting experiences that are difficult to discuss but deserve to be examined with the same sensitivity and attention she has brought to her earlier work.
At first, the film presents a world that is familiar, even comforting; Joo-in (Seo Su-bin’s debut as an actress), a bright and energetic high school student, appears to have everything in place. She is popular at school, excels academically, and is dedicated to taekwondo. She is surrounded by friends, enjoys a new relationship, and shares a warm, playful dynamic with her family. Her life is structured and seemingly secure.
Yoon Ga-eun, however, has much more in mind than an ordinary account of teenage life, and although the film initially concerns itself with the familiar experiences and difficulties of adolescence, the story gradually takes a more troubling direction when a classmate starts a petition concerning the release of a convicted sex offender. What seems at first to have little connection to Joo-in provokes an unexpectedly strong reaction from her, leaving those around her confused and the audience increasingly aware that there is something about her past they have yet to discover. Yoon is careful about how much she reveals, giving us time to notice the changes in Joo-in’s behaviour and begin questioning what might have caused them, so that when the reasons for her distress become clearer, they carry considerably more emotional weight.
What The World of Love confronts is not only trauma, but the environment surrounding it. Yoon examines how victims of sexual assault are often treated once they come forward, or attempt to. The film shows an uncomfortable reality: that victims are frequently questioned, doubted, and placed under scrutiny. In many cases, the process of seeking justice becomes another form of suffering. Courts, legal systems, and even those meant to offer support can unintentionally shift blame or create pressure that discourages victims from speaking up. This is what makes the film so important; it reflects the complexity and the emotional impact of these experiences. It shows how difficult it can be for someone to come forward, especially in a society where understanding and support are not always guaranteed.
Yoon’s directing style is simple but very clear; she once again shows how well she can bring out natural and believable performances from her cast. Seo Su-bin gives a performance that is very real and honest. She shows the strength and vulnerability of her character, as well as her confusion and resistance, in a very natural way. Alongside her, Jang Hye-jin – known internationally for her role in Parasite – brings depth and emotional nuance to the role of Jooin’s mother. Her performance is powerful yet quiet, reflecting a parent trying to understand something she cannot fully see or grasp.
Why do films like this matter? They create space for conversations that are often avoided or misunderstood and this story does something even more valuable: it encourages empathy and greater awareness. With this film, Yoon confirms her place as one of the most thoughtful and important filmmakers working today. She reminds us that cinema still has the power to confront and to question.
Rating:
Written by Maggie Gogler
Featured image courtesy of Barunson E&A
View of the Arts is an online publication dedicated to film, music, and the arts, with a strong focus on the Asian entertainment industry. As we continue to grow, we aim to deepen our coverage of Asian music while remaining committed to exploring and celebrating creativity across the global arts landscape.
