Netflix has a definite style of youthful romance which may not be to everyone’s taste. The characters (not necessarily the plot) are more realistic and less “wholesome” or formal than the one’s coming out of Korean television. More willing to mess with the standard norms and to be concerned with the realities of things like depression. Less afraid to explore the uncertainties of youth, which make it more afraid of the finality of rejection than living with the denial of feelings or unfulfilled desires.

The production style here is more akin to “Nevertheless”, although the storyline is totally different. It has a greater emphasis on showing more realistic reactions and character traits, such as smoking, swearing or anxiety attacks. The characters are often much less sure of themselves and can display behaviour that is obvious red flags, such as a dangerous tendency to want to be violent, or being caught up in abusive relationships. The actual impact that these situations have on an individual is more honestly portrayed. Often K-dramas gloss over the effects of trauma and create miraculous and timely recoveries so that the sense of a moral correctness, or fairytale happy-ever-after can be preserved. Whereas this story takes place amongst the uncertainties and messiness of life.

The director, Lee Jeong Hyo, has a string of hits in the last 5 years, including “Crash Landing on You” and “Romance is a Bonus Book”. Here he has adopted a less predictable style. He likes to observe the reactions on the actors faces and Bae Suzy is well worth looking at as she successfully conveys her inner emotions. Yang Se Jong is less convincing, but his character is lacking light and shade in the writing and it is very much a cypher and a foil for Doona. For me, the ML character is too young to be believable and as a result is played more mature. In general, his circumstances and themes were under-explored. At this length, the drama could easily have opted to focus only on the leads and gone deeper. There was plenty of material, particularly on Doona’s side to do so.

Instead, they chose to introduce secondary characters and subplots that did not hold up particularly well. There was an air of plot convenience about them with insufficient integration between their characters and the lead story. The script for these subplots, particularly between Lee Won Jun (Yang Se Jong) and his old flame, disappointingly often slipped into the banal and trite.

One annoying detail was that the continuity was bad. The weather and costumes were very mixed up. People wearing summer outfits in early spring and full tree foliage with snow. I’m prepared to overlook bright sunshine and rain, as that is often unavoidable due to a shooting schedule. But deciding on the season and dressing appropriately is something that should be unified.

There were some deliberate attempts at stylistic cinematography - especially towards the end. The breaking up the images into multiple rectangles (there’ll be a technical term for this, sorry not really my speciality). The use of a lot of close up reaction shots. It had a modern feel. Slightly smokey images, with the edge taken off by using less saturated colour, and moody lighting, nicely played into the slightly sombre tone of the piece. Greys, blues and browns predominate. The spare use of music carries emotional weight because it is unusual to have no background sounds.

Overall, for me, there was a lot to like about this production regarding the central characters and storyline, but the subplots and details let it down. It was an emotional 8, but a rational 7.5.