In December, South Korea's SBS released a new romantic comedy, "That Summer."
Douban 8.8, with its relaxed atmosphere and popular starring lineup, quickly set off a small and fresh atmosphere of "summer campus love" nostalgic frenzy.
It is worth mentioning that the male protagonist Choi Woo-sik and the female protagonist Kim Do-mi are "second-degree cooperation" after three years.
One is the young powerful actor who has been widely recognized for his clever acting skills of "four or two strokes of a thousand pounds" in "Parasite". One is the "anti-social rebellious girl" who made a deep impression in "Itaewon CLASS".
The two once played a pair of "sworn enemies" in the sci-fi action movie "Witch", from the beginning of the film to the end of the film.
At that time, the two attracted the attention of a large number of CP fans with their super magnetic field. Therefore, today's "directly talk about love" of "that year we", with a sentence of "cp fans to realize the dream" to describe - the most appropriate.
The male and female protagonists in the play are two people who are diametrically opposed in personality and way of doing things. The male protagonist, Cui Xiong, was a crane tail when he was a student, and the only thing he was passionate about was painting and reading.
The female protagonist Yanxiu is the first place in the "attention of all" during the student period. The meaning of this "attention" is not that she is beautiful, but that she is "cold-faced and old-fashioned" - although she has good grades, she always looks like a good student who is "high up" in school, which is difficult to approach.
Two people who are absolutely in contrast, in high school, were accidentally involved in a documentary planning and became a pair of partners who "had to" cooperate. The theme gimmick of this documentary is the daily life of the first corrected number and the first from the bottom of the whole school.
Since ancient times, the contrast between cp - this pair of "happy enemies" who automatically start to spit on the mode whenever they get along in the same space will always be on the way to attack each other with their mouth cannons. Choi-heung hates that every time Yan-so speaks to himself in front of the camera, he "has no eye color and low emotional intelligence."
Yanxiu hates Cui Xiong's unmotivated learning attitude, and bluntly says that "he hates useless people the most in his life".
It is such a pair of partners who seem to be "not wearing the same heaven" that after many years, they have become each other's predecessors. This also means that the two fell in love when they were teenagers filming documentaries.
It seems that the cards are not played according to the routine, and it is inexplicably reasonable to make people feel that it is quite reasonable. I have to say that Korean dramas are really good at playing the part of campus contrast love.
The really interesting story takes place after the two men have come of age and entered society. Cui Xiong, who "does nothing", has become an "anonymous online painter" on social networks because of his talent for painting.
And Yan Xiu, who was once extremely serious about everything, became the creative team leader of a small company who was exhausted and tired of running projects.
And five years after the breakup, the two also had a major intersection - the project that Yanxiu was responsible for, and he needed to invite Cui Xiong to appear and paint for the brand side.
Thirty years east of the river, thirty years west of the river. Yan Xiu, who used to be, was the top student in the classroom who always interrupted the teacher's lecture and constantly asked questions. Now it has become a social animal that is constantly interrupted by the boss of Party A at the project meeting.
Cui Xiong, who used to be, was always criticized by teachers and parents for "not showing up". Nowadays, he has his own painting apartment, every day a small vinyl is put on, a small floor-to-ceiling curtain is pulled, and life is very slow and comfortable.
However, although the situation has changed, the personalities of the two have not changed. Yan Xiu is still the original absolutely pragmatic girl who "carries everything with a cold face" - still hates "useless people", and throws a stinky face at the boss of the peacemaker at work.
Cui Xiong is still the social terrorist who does not like to go out - even if he becomes a painter, but because he hides his profession from his family, he still has to help his parents who open a snack bar to move cabbage and accept their "nagging".
This way of handling the tiny details of life that has traveled through time but still has not changed the two makes the pattern of the whole play seem very natural. South Korea, as the country that can best compare the lives of chaebols and ordinary people, is unusually "unrolled" in this drama. Not only did it not let the audience feel the embarrassment after the status of the male and female protagonists was reversed, but also let the bullet screen directly shout "I have been killed".
All this "nature" comes from the delicate portrayal of the two figures of Cui Xiong and Yan Xiu. Take Cui Xiong, who has become a painter. Even if he is already a little famous, Cui Xiong has no self-consciousness that he has become a celebrity.
Even if his paintings have been bought by the well-known star Aidou and are boiling on social networks - he himself is still a nonsensical artist with a big nerve, who accidentally paints "day and night upside down" and "forcibly pulled out of the door by his agent to exercise".
Although Yan Xiu is doing nine-to-five work, she is still " as always in her emotional life and way of doing things. Put the blind date 5 times pigeons, do not take the project vows not to sleep - live and get rid of the "bully" from the student period, and translate into an adult "workaholic".
Such a detailed depiction, so that the "re-meeting" after the two people broke up, still did not get rid of the "cat and dog CP attribute" of the student period - the silly Cui Xiong, still grumpy about Yan Xiu dumping himself. Seeing her face sprayed water and salt.
Yan Xiu came to "ask" Cui Xiong to attend the project, but he was still unwilling to give the other party a good face. The other party refused, and she took the bag and left.
What's even funnier is that about the process of "spraying water" and "sprinkling salt", Cui Xiong, who broke up for five years, had to pull his agent to practice with himself once a month. Barrage: Isn't this really Cancer Man x Scorpio Woman?
"Say yes don't break up with me." This is the whole idea of the great painter Cui Xiong. "How did you grow up so childish?" This is the inner os of Yan Xiu in adulthood. The crux of the feelings of these two childish ghosts lies in the difference in the interpretation of the word "sense of security". Cui Xiong, who was born in a noisy and happy family, although he has a bad temperament, he does not like to hang love on his lips.
Yan Xiu, who has only lived with her grandmother since childhood, has adhered to the attitude of "if there is no power in the family, you must have a little temper" - when it comes to feelings, she is very insecure.
During the four years of college love, although each time Yanxiu tried his best to "provoke" Cui Xiong, trying to force him to say the words "I love you" to himself. Cui Xiong will only be silly to guard her side, to be a humble person who will not express love.
One is always tempting, one is always silent. This mode of getting along eventually made the two part ways in the year of college graduation.
"That Year We" uses a delicate and slow rhythm to lay the foreshadowing of the above details, bit by bit, into the male and female protagonists' personalities. A boy with a stupid mouth in his youth, a girl who is weak and vulnerable in adolescence. This portrayal of the two contexts of "youth" and "adulthood" that is completely in line with the audience's heart makes the play intimate and moving.
What's even more surprising is that the two people who once met because of the documentary continued the project as adults and prepared to "get along again" in the documentary.
Of course, I am also ready to fall in love again - after all, looking at the proficiency of the male protagonist in spraying water and sprinkling salt, and the female protagonist drinking more than one meal to nag the ex's wine, these two people are clearly neither of them has forgotten anyone.
"After leaving me, what kind of adult have you grown?" This wonderful and wonderful "call back" plot not only does not make the "play within a play" setting of the documentary appear abrupt, but makes the whole play full of fun.
It also makes the audience look forward to what kind of sweet sugar can be eaten by these two "awkward people" through the adult documentary. After all, everyone has had such a "difficult intention" in adolescence.
And that "hard to reconcile", are you doing well now?
The world says that being a cat and a dog is not a lover. But what if I'm reluctant?
In only two episodes, "That Year We" used this series of questions to hook the audience's watching drama "Hungry Worm". There is no intrigue, no vulgar dispute between right and wrong, only the raw and delicate "torture" of youth.
Fresh to this point, only the four words of "Yin Yin Expectation" can be sent to this charming new drama.