Pavane

Sad People in Love

From the jump, Pavane feels like it exists in a slightly warped reality where everyone is lonely, underemployed, and quietly disappointed in themselves, which already makes it more honest than most romantic films. The story centres on three people working in the same department store, which is basically a factory for emotional suppression. Gyeong-rok parks cars while chasing dance like it’s a personality trait, Mi-jeong works in the basement like society physically pushed her underground, and Yo-han floats around as the charming, slightly strange friend who seems socially successful but radiates the kind of loneliness that comes from being liked without being known.

The romance between Gyeong-rok and Mi-jeong does not arrive with fireworks or dramatic confessions because this film understands that people who feel undesirable don’t flirt like normal humans. Their connection grows through small glances, long pauses, and the shared exhaustion of knowing they do not fit society’s idea of a perfect couple, which somehow makes their relationship feel more intimate than any cinematic grand gesture ever could. It is not fantasy love, it is survival love, the kind that says, “You also feel out of place? Great, let’s be uncomfortable together.”

Mi-jeong sits at the emotional centre of the film, and instead of giving her a makeover or a glow-up montage, the story does something far more radical by letting her remain exactly as she is and demanding that the audience take her seriously anyway. She is repeatedly criticised for her appearance, as if her face itself is a social failure, and the film never pretends this cruelty does not wound her. But it also refuses to turn beauty into her redemption arc. Her worth comes from endurance, from continuing to exist in a world that keeps suggesting she should not. Go Ah-sung plays her with a quiet vulnerability that feels like someone constantly holding their breath, revealing trauma, fear, and the aching desire to be seen without ever turning Mi-jeong into a lesson or a slogan.

Gyeong-rok is gentle in a way that feels painfully realistic because he is clearly in love and yet emotionally illiterate, like a man who downloaded feelings without reading the instructions. He hesitates, misreads situations, and can be frustratingly dense, but that clumsiness makes him feel human rather than engineered. Their relationship never feels manufactured; it feels like something that grew by accident because neither of them expected to be chosen.

Yo-han is the most ambiguous figure, hovering between friend, observer, and emotional disruptor, adding a slightly surreal layer to the story as if he understands the characters better than they understand themselves. Sometimes this perspective deepens the film’s exploration of loneliness, showing how charisma can coexist with isolation, but at other times it pulls attention away from the central romance just as it begins to settle into rhythm, which raises the uncomfortable question of whether this imbalance is intentional or simply a flaw in the writing.

Visually, the film leans into muted colours and a faintly vintage atmosphere, turning the underground parking lot into an obvious but effective metaphor for lives lived outside society’s spotlight. The cinematography is restrained and elegant, and the use of classical music lifts certain scenes into something almost dreamlike. Yet the pacing in the second half weakens the overall impact, as transitions between emotional moments feel awkward and uneven, creating a pattern where the film draws you in deeply and then abruptly lets you go before the feeling can fully land.

Still, despite these structural issues, the film leaves behind genuine emotional weight because its sincerity about love, insecurity, friendship, and longing cuts through its imperfections. It is less about happiness than about the way even brief love can permanently reshape how people see themselves. These are characters who believe they do not deserve affection and slowly realise that being chosen once might be enough to sustain them for years.

Pavane is not a spectacle and does not trade in fantasy or transformation. It offers hushed pain, awkward tenderness, and the quietly devastating idea that someone might love you exactly where you are: in the basement, in the parking lot, in the version of yourself you assumed no one would ever pick. And somehow, that restrained hope feels more radical than any dramatic romance ever could.

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THIS FILM DESERVES A FULL 8.8 RATİNG.

First of all, I should mention that this will be a short review because I don't know what to write at length. When I watched part of the trailer, I thought it was a thriller and thought, "Ah, it would be great if it were a romantic series." Then it appeared on MDL, and after watching a bit, I saw that it was a movie and a romantic one. So I thought maybe I'd watch it, but it completely slipped my mind. Then today I saw that this movie came out and decided to start watching it for a bit of fun. Before starting, I thought it would just be an ordinary coming-of-age story. But it was definitely so much more than that. When I finished it, I told myself, "I'm so glad I watched this." The romance between them was lovely, and it delivered everything it promised. Although I thought the ending was a little strange, it was quite good and I liked it. Finally, this movie deserves a full 8.8 rating. I wish someone would give it a higher score so its rating would increase. Anyway, have a good day.

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I can't get it out of my head.

Although I really enjoyed this movie, I wasn't going to write about it, because I thought I didn't have anything interesting to say, but almost a full 24 hours after watching it, I keep replaying it in my head, the more I think about it, the more I like it, the more the pain lingers so I have to put my thoughts about it in writing whether they're interesting or not.

To My Beloved Thief changed my mind about Moon Sangmin, to me he was Just tall handsome guy who just stood there with the same confused expression no matter the situation his carachter is put in, the swimmer in Mermaid prince,the prince in under the Queen's Umbrella, younger guy dating older lady in Cinderella at 2 AM, all the same boring handsome dude ( he was good in Duty after school though, just as or maybe more disgusting than Taeman was in he webtoon). All that to say that I was looking foward to what he would do in Pavane and although he does have that confused handsome guy face in this one, it works so perfectly, Gyeongrok is a sad kid who has had a really tough life, the unflattering way dresses and that gloomy air around him, Moon Sangmin made me care for this guy so badly.

I love that Kim Mijeong kept her look throughout the movie, yes she was quirky, mousy and bashful, that eventually did get better, but finically, no makeup, simple clothing and hairstyle it was just her and she didn't need to change that. The way GyeongRok would light up when he saw her was like stepping into a whole new world, these two usually gloomy people would brighten up, smile, sing and dance, and make us root for their love.

Although the movie is a bit slow at times, it makes sense given the personalities of our two main leads, its a slow burn romance with a devastating ending but it is very much worth watching at least once.

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A Film That Changes Its Thesis in the Final Act

The first two acts of this film establish a clear and compelling thematic direction, only for the final act to quietly replace it.

The opening is exceptional. It builds two ordinary people connecting without status hierarchy, romantic pedestal, or aspirational fantasy. Their relationship feels grounded, emotionally honest, and free from exaggerated melodrama. The thesis appears simple yet rare: that two common individuals can connect purely because they do.

The pacing is not slow—it is restrained. Each scene advances the psychological conflict with intention. The emotional progression leads naturally to the public confession, which functions as the true climax of the story. By that point, the arc feels complete. The transformation is earned through vulnerability, not spectacle.

The issue arises in the third act.

The sudden death of the male lead does not emerge from prior conflict, thematic groundwork, or character decisions. It functions primarily as an external shock. More significantly, the narrative reframes this tragedy as the catalyst for her empowerment.

From a structural and psychological standpoint, this shift feels unearned. A character defined by insecurity, avoidance, and a retreat into emotional darkness would not realistically find immediate strength in the loss of her only source of validation. The film replaces process with symbolism.

The original thesis suggested that connection itself was enough. The final act implies that loss is what grants that connection transcendence.

That shift alters the film’s identity.

Tragedy does not automatically deepen a story. Structural coherence does. And here, the coherence established so carefully in the first two acts gives way to impact-driven symbolism.

The foundation was strong. The final turn changes what the film ultimately stands for.

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FILM YANG GW PIKIR AKAN BOSENIN. TERNYATA... SEINDAH INI ?

Awal tau film ini dari trailer IG Netflix, dan disitu gw ada komen kalau sinematografinya vibe Jepang gitu. Gw suka betapa naturalnya mereka, no make up no filter.
Film ini udah masuk watchlist, cuma emang ga ngeh kalau rilisnya today.
Daaaan sehabis pulang kerja, sampai rumah. Gw liat notif FILM INI SUDAH RILIS! Auto nonton, 3 detik pertama gw sempet mikir "ah kok" karena abis liat siapa yg muncul diprolog. Eh ga perlu nunggu lama 3 menit pertama film ini bikin gw lanjut nonton, dan selesai gitu aja pas gw rebahan, ga ada gw pause, ga ada gw skip, ga ada kedistract. Beneran MENIKMATI banget filmnya. Gw suka gimana cut to cut film ini! Cepet! Tipe movie yg gw sukak.

Agak jarang ya, Film Korea genre romance, drama, melodrama ini POV nya lebih ke si cowok. Atau sebenernya banyak, mungkin ga ketonton sama gw, karena yg gw ngeh mostly POV cewe.

Gw suka gmn obrolan ML dan FL difilm ini. Sebenarnya ini film yg bisa ketebak gmn alurnya, TAPI TETEP AJA GW GA NYANGKA KALO ITU BENERAN SESUAI APA TEBAKAN GUA. But it's okeee. Gua terima pake nangiiiis kejer nontonnya. Mau gimana emdingnya, gw suka gimana "berprosesnya" perasaan mereka satu sama lain, gmn hubungan manusia di film ini, walaupun ga detail dan basa-basi, tapi tersampaikan aja.

Film ini bukan cerita romance ala CEO tampan kaya ketemu cewe miskin lalu jatuh cinta. POKOKNYA KALIAN WAJIB NONTON!

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Ktrauma

Pavane é um melodrama coreano sensível que constrói uma história de amor delicada e cheia de significado. A relação entre os protagonistas é bonita, madura e baseada em conexão emocional, o que torna o romance envolvente e tocante.
Apesar disso, achei o ritmo do filme muito lento, o que pode dar a sensação de que a história demora para avançar. Além disso, o final deixa muitas interpretações em aberto, ficando um pouco confuso e sem uma conclusão clara, tipo ele morreu? ou só perdeu a memória ?
No geral, é um filme com uma história de amor bonita, eu gostei mais não amei!

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