ltspada

My rating is 7.5/10

I went into The Trunk super excited because some of my favorite reviewers were raving about it, calling it a gripping psychological thriller with a unique contract marriage twist. As someone with a psychology degree, I was pumped for a deep dive into complex characters and mind games, and I do love a good K-drama that mixes romance with suspense. Did it deliver? Sort of, but it wasn't as great as I expected from other reviews.

The acting is amazing of course—Gong Yoo brings this raw, broken energy to a guy who’s a total mess, and Seo Hyun-jin nails the guarded, emotionally scarred vibe of her character. The visuals are stunning, with a cold, moody aesthetic that fits the psychological tone perfectly. The house was "creepy" just in how dark it was and with the unusual architectural features such as the staircase and huge chandelier.  The story revolves around a shady marriage agency called NM that sets up one-year contract marriages, and things get intriguing when a mysterious trunk shows up, hinting at dark secrets.

I guess if you’re into slow-burn dramas that unpack trauma, manipulation, and messy relationships, you might like this.  But fair warning—it moves slowly. Like, “I need another coffee to stay awake” slow at times. The mystery starts strong but fizzles out toward the end, and the resolution left me feeling meh. As an empath, I found it emotionally draining because every character is so damaged, and there’s no feel-good payoff to lift you up. The romance is there, but it’s not the swoony kind—it’s heavy, complicated, and sometimes frustrating.

I’d recommend The Trunk if you love psychological thrillers and don’t mind a heavy, introspective vibe with flawed characters. But if you’re looking for something light, romantic, or action-packed, you might want to skip this one. It’s not a show I’d rewatch—it was tedious in parts, and I had to push through to finish it. Still, it’s got enough intrigue and stellar performances to make it worth a shot for the right viewer. If you’re torn, maybe watch the first episode and see if the vibe hooks you. There are tons of other K-dramas out there, so it depends on whether you’re in the mood for something this intense.

Why a relatively low rating of 7.5/10 for me. You will see very few that I review that I rate that low simply because I research the shows I watch up front and try to only watch those that others have liked at least an 8 or above by most reviewers. But, occasionally one like this will slip through and my opnion will depart from my stand by sources.  The acting and aesthetics are fantastic, and the premise is intriguing, but the slow pace, unsatisfying ending, and lack of emotional payoff dock some points. It’s good, but not great in my opinion. There is a fine balance between making something mysterious and making it confusing. I felt like that balance was not well maintained and I was confused a lot and some of those confusing points were never resolved. 

Spoilers

As a psych grad, I was analyzing everyone’s behavior like crazy, and boy, did this show give me a lot to chew on.

The Ex-Wife’s Toxic Manipulation was a huge flag for a mental disorder. From the beginning, I clocked Lee Seo-yeon as bad news. To me, she screams borderline personality disorder with narcissistic tendencies. Her whole scheme—setting up her ex-husband, Han Jeong-won (Gong Yoo), in a contract marriage with Noh In-ji (Seo Hyun-jin) while she pairs up with a younger guy, Yun Ji-oh (Jo I-geon), supposedly to “test” Jeong-won so they can reunite—is straight-up psychological torture. She knew it would be emotionally painful for him and was getting great enjoyment out of his suffering. She thrives on control and attention, and it’s clear she’s stringing Jeong-won along because she can’t stand him moving on. Her character is chillingly manipulative, and Jung Yun-ha plays her with this unsettling mix of charm and menace. 

The reveal about Seo-yeon’s past further consolidated my thought that she was classic personality disorder. The fact that she walked into traffic while eight months pregnant, losing her unborn child, was a desperate bid to keep the spotlight on herself when Jeong-won’s attention shifted to the baby.  And she did it when she was supposed to meet him so she had to know he saw the full accident she created. Then she drugged him and installed cameras to spy on him, knowing his trauma would make that unbearable. Those types of actions are next-level cruel. Which was why I was so disappointed when Jeong-won apologized to her at the end—like, what? She murdered their baby and traumatized him, and he’s sorry? That told me he really did not get who she really was at all. Her suicide attempt when she realized he wasn’t coming back was textbook BPD—when control slips, you pull a drastic move to reclaim it. I wanted someone to call her out harder, and while In-ji had some great moments telling her off, it wasn’t enough when Jeon-won's apology pretty much reversed any censure of her behavior she received to that point by apologizing as if he had committed the greater wrongs. Wanted away from someone with BPD is not wrong. He was escaping with the drugs she pushed on him long before he lucked out and she pushed him away. 

The Main Couple’s romance was frustrating (Han Jeong-won and Noh In-ji).  I was rooting for Jeong-won and In-ji to heal each other, but their story left me conflicted. Gong Yoo’s Jeong-won in the begging of the series, is a drug-addicted, anxiety-riddled mess, haunted by his toxic marriage to Seo-yeon. His stockholm syndrome, where he is begging her to come back to him, is just a factor of the unhealthy co-dependence she had carefully fostered. As someone who was abused in the past, he was fertile ground for another abuser and his ex-wife more than fit that bill. He’s so broken that you can’t help but feel for him, and Gong Yoo’s performance is heartbreaking. In-ji, played by Seo Hyun-jin, is a contract wife at NM who’s supposed to be detached but starts catching feelings. Their chemistry is undeniable, and the slow-burn moments where they start to open up—like In-ji creating a cozy home for Jeong-won—are beautiful. But In-ji’s emotional walls drove me nuts. She’s giving and caring on the surface, but when it comes to truly opening up, she pulls back, which felt selfish to me. 

In-ji's backstory was such a letdown. We finally learn her fiancé, Seo Do-ha (Hong Woo-jin), left her five years ago, calling her selfish, but the show never explains why. What did she do that was so bad he vanished without a trace? She clings to his old apartment, which is weirdly obsessive, but the show doesn’t connect the dots. It’s like they wanted her to have this deep, tragic past to justify her contract marriage gig, but it didn’t land. The trauma of being abandoned didn’t seem intense enough to explain her emotional isolation or why she’d choose a job where she stays detached. I kept waiting for a bigger reveal, but it never came, and that vagueness made her arc feel incomplete. And it made her seem selfish, as her ex had accused her of. 

Their ending was the biggest disappointment. After all the drama, In-ji ends the marriage, saying it’s for the best, even though they clearly love each other. It hints that she does it to protect him from her stalker but since it doesn't really protect him anyway it is clear she does it for herself. Jeong-won suggests they give it another shot if they meet by chance twice—and the show ends with them having one random encounter. Really? After everything, you’re leaving it to some rom-com “fate” nonsense? It felt like a cop-out, especially since In-ji’s refusal to fully commit seemed rooted in her own insecurities rather than anything logical. I wanted her to be the heroine who saves Jeong-won emotionally, but her own damage held her back, and the fact that the damage didn't stem from something that made sense, made that frustrating. 

The side couple just added some pointless drama and slowed the plot down even further (Yun-a and Hyeon-cheol). Jeong-won’s friend and his wife could have been a cute heart warming story of a young couple struggling to raise their kids. But, what was wrong with her? She said several times she didn't want her husband or her kids. Post partum depression? I mean her kids were a little old for that but it is possible. But didn't we have enough mental illness to weed through already? Their subplot about her wanting a divorce because she “doesn’t want kids” and needs her “identity” felt so forced. It came off as this weird, stereotypical “modern woman” trope that didn’t add anything to the main story. Yun-a seemed selfish and disconnected, and their drama felt like filler. I kept wondering why this couple was even in the show—it didn’t tie into the trunk mystery or the main romance and just bogged down the pace.

And speaking of the titular trunk I thought it was going to be some huge deal. I mean it is in the title after all. And they way played it up as being expensive and rate. Gotta be something hugely profound about it right? Nope. It had me hooked at first—who owns it? What’s inside? But the mystery fizzles out. There are two trunks: In-ji’s, with her marriage contract and NM manual, and Seo-yeon’s, with baby clothes and toys for her lost child. A creepy ex-NM employee, Eom Tae-seong (Kim Dong-won), steals Seo-yeon’s trunk thinking it’s In-ji’s, hoping to expose NM and ruin In-ji’s marriage. Lots of suspense around him being able to open it or not and it was associated with the mysterious deceased body in the beginning. But it turns into a big nothing burger. They literally were using it like a mobile safe. That's it. No dead bodies. No huge secreats. Just some baby clothes and some paperwork. 

The big twist? The whole thing practically was built on a who dunnit with the trunk, the police taped off scene, the water (and she kayaks) and the viewer spends a lot of the series wondering who the body is and who committed the cirime. Finding out who did it and who the body even was is revealed in quick succession. Tae-seong is killed by Yun Ji-oh, Seo-yeon’s contract husband, who does it because NM asked and because he was the witness to a fellow security guard being murdered by Tae-seong. It’s dramatic but feels rushed and unsatisfying. I mean why him? Our only association with him to that point was just another man who had some weird fixation with BPD woman. 

The nonlinear timeline, jumping between the contract marriage’s start, sometimes into the future, sometimes into the past is cool for suspense but made the story drag. I got bored in parts, especially when the show lingered on everyone’s misery without moving the plot forward. And I got lost in the sauce a lot of times, get bored and blink and you missed that you just time traveled.

I didn't hate it. Not even sorry I watched it. At least now I know. Because it is talked about quite a bit in drama circles. The harsh, cold visuals and the music set the mood perfectly, reflecting the characters’ trauma. The acting, especially Gong Yoo and Seo Hyun-jin, carries the show—their chemistry is the heart of it. I loved when In-ji confronted Seo-yeon; those scenes were electric, and someone needed to put that woman in her place. But the weak mystery resolution, vague backstories, and lack of a feel-good ending killed the vibe for me. At the end of the series, I felt drained by how broken everyone was—Jeong-won’s pill-popping, In-ji’s emotional withdrawal, Seo-yeon’s manipulation. Jeong-won did predictably get better when he got away from toxic Seo-yeon and In-ji was definitely instrumental in him having the strength to break her stranglehold on him.  But there is no catharsis, no moment where you feel like these people are going to be okay. Better? Some of them were. But okay and ready to move onto happy lives? Is that what the cats and dog were supposed to represent? The tearing down of the house? Well, you appear pretty happy on your own.  Lonely? Maybe. But happy. But there is never an "I miss you moment" with In-ji. She goes and sees his show. I guess that was supposed to be an indicator she was missing him. But don't make us guess. We are at the end. Tell us. Let her cold emotional shell finally crack. I was tired of it at that point.

I wouldn’t rewatch it, and I’d only recommend it to folks who enjoy dissecting damaged characters. There are better K-dramas out there if you want something that is tied together a lot better and is still thrilling but ends on a more uplifting and well wrapped up note

Synopsis

The Trunk is a 2024 South Korean drama with 8, 63 minute episodes. It combines elements of mystery, romance, thriller and with psychological aspects. It’s based on a novel by Kim Ryeo-ryeong.

The story follows Noh In-ji (Seo Hyun-jin), who works for a shady company called NM (New Marriage) that sets up one-year contract marriages. Basically, people pay to have a temporary spouse for whatever reason—maybe they need a partner for show, but sometimes the reason is something weirder. In-ji’s latest “husband” is Han Jeong-won (Gong Yoo), a music producer who’s super depressed and stuck on his ex-wife, Lee Seo-yeon (Jung Yun-ha). Their fake marriage gets messy when a creepy trunk shows up in a lake, hinting at some dark secrets tied to NM. As In-ji and Jeong-won play house, they start to actually care about each other, but their pasts and NM’s sketchy business keep things complicated.

This show’s not your usual fluffy K-drama. It’s intense, with a lot of mind games and emotional baggage, digging into stuff like toxic relationships and figuring out what love even means. The first few episodes can be confusing because it doesn’t explain much upfront—like, why is Jeong-won so hung up on his ex? What’s NM really about? But if you hang in there, it starts to come together and gets super addictive. I’m watching it with my daughter, and it’s been a bit much for her because it’s so twisty, but I think it’s worth sticking with for the romance and the mystery. If you like shows that make you think and keep you guessing, give The Trunk a shot. Just know it’s got some heavy themes and a couple of steamy scenes, so maybe not the best for those that like Asian content because it tends to shy away from overtly sexual scenes.