Reviews

boycott ~ why is he still allowed to work

after that pathetic press conference with his fake tears and bullshit, ksh is still allowed to work in this industry. it’s vile and disgusting that he still gets awarded with opportunities after everything he’s done to ruin a woman’s life and career. many actors and actresses have been ostracized from the industry for LESS than he’s been accused of, have some fucking shame. anything he’s involved with will get a boycott from me, idgaf who’s in the movie with him, they all deserve whatever criticism they get for releasing this and supporting his employment.

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Fascinating. Crazy. Chemistry. Unpredictable.

I don't have words to describe this drama. The plot is so crazy and unpredictable. The chemistry between the leads is off the charts. And the acting is peak-especially considering some of the scenarios they have to go with!
If you want an exciting, unpredictable sci-fi ride like nothing you've seen before, mixed with a whirlwind epic love story, this could be for you.
I initially watched this after watching Embrace in the Dark Night-which was AMAZING and had the same actress. If you watched that and are chasing great chemistry, this could be your follow up show.

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Free me now so I can see, the taste of wind and be like me (So Tonight That I Might See)

Oh Soo (Jo In-sung), abandoned at birth under a tree and raised in an orphanage, as an adult slips into gambling and fraud. A huge debt to a gangster gives him 100 days: either he pays up or he dies. With his back against the wall, an unexpected opportunity presents itself: to exploit his namesake, his deceased friend — disowned by his father — who was the brother of Oh Young (Song Hye-kyo), heiress to the PL Group. Upon her father's death, Oh Young becomes the sole heir to a business empire. Oh Soo then decides to stage the perfect scam: pretending to be her “lost” brother to get the money he needs to save himself. But deceiving Oh Young will not be easy: she may be blind, but she is anything but naive.

In the history of Dramaverse, 'That Winter, the Wind Blows' occupies a pivotal position. There was a time when Korean melodrama spoke the language of the seasons: impossible loves, hidden identities, illness, sacrifice, destiny. Then, before the full globalization of platforms, writing became more layered, more hybrid. This series is not a simple return to the past, but a bridge capable of integrating classic melodrama into a more complex structure, contaminated by noir, supported by a strong visual dimension and a highly evocative soundtrack.

Here, lie is not only a narrative tool: it is a choice that comes at a price. Winter is not simply an aesthetic backdrop but an existential condition. The characters survive rather than live; they choose deception as a temporary refuge from a world that has already asked too much of them.
The disturbing element is not the deception itself, but its ethical nature. Oh Soo does not simply pretend to be someone else: he takes on a name that implies a moral function. While the con man carries within him an origin marked by abandonment, the dead brother was defined by protection. The homonymy becomes the mechanism that slowly tightens the grip of destiny. By accepting that identity out of necessity, Oh Soo also inherits the symbolic weight of the name. Noir imposes the mask; melodrama empties it and fills it with responsibility.

Oh Young's blindness is not a Hollywood-style thriller device, but rather the distance that separates and defines the character. It amplifies her isolation and vulnerability in a world where every gesture can be betrayal. Protected by a wealth that is both a shield and a prison, she lives in a system of ambiguous relationships, where care and control are blurred.

Deception creates a grey area where rules are broken. By pretending, Oh Soo inhabits a role he does not fully master; by relying on his “brother”, Oh Young exposes his fragility to inevitable risk. The series makes a paradoxical move: it makes fraud a necessary step towards trust. The lie becomes the threshold between guilt and redemption, survival and authenticity. Not only is it a morally questionable act, but it is also a crack through which the truth enters.

Oh Soo's identity begins as a performance: he studies habits, controls reactions, moves like an actor. But here, the acting does not remain external. While in theatre the performer returns to being himself, in this story the role changes the player.
The stage is the mansion: a place of apparent protection, but also of control and secrets. Oh Soo carries out a sort of emotional domestic invasion, entering rooms that hold suspended identities. A space where noir sets the stage for deception and melodrama transforms it.

In noir genre conventions, the hidden room promises fatal revelations. When Oh Young sneaks in, the series seems to promise a dark twist. Instead, there is a reversal: inside there is no crime, but memories. Videotapes, maternal objects, fragments of a bright childhood. The structure is that of an identity thriller, but the heart is bittersweet melancholy.

By crossing that threshold, Oh Soo does not just invade a space: he enters a past that does not belong to him. He studies those memories strategically, transforming them into an appropriate performance: a phrase at the right moment, a tone that evokes shared pain. The room becomes the place where the character is created. But melodrama sabotages noir: internalized memory does not remain neutral.

The rootless con man appropriates for the first-time a past that continues to hold sway. Watching those VHS and looking at those photographs means coming into contact with a lost happiness he has never known. The house ceases to be merely a place of deception and becomes a space of transformation: the paradoxical beginning of a moral conscience.

From the middle of the tale, the noir atmosphere does not disappear, but the story takes an emotional leap: it becomes internalized, subtle, transforming debt and threat into matters of the heart and body. Time, previously marked by the economic deadline, splits in two: on the one hand, the countdown of the debt and the danger imposed by the gangster Mo Chul, on the other, the slow and uncertain rhythm of Oh Young's illness, the return of the tumor and the refusal of the operation.

The truth emerges: he is not her long-lost brother, but an orphan who grew up surrounded by debt, gambling and dangerous streets. This recognition, both expected and feared, does not break their bond; it transforms it. Oh Young, though surprised and hurt, clearly perceives the depth of the feelings that unite them: love is not born from a glance, but from proximity: from the sound of a bell, the taste of candy floss, the shared breath in a hospital room, no longer brotherly, but a love suspended between caution and ardor, between protection and desire. At the beginning, the series had established a code, a symbolic barrier, but here the dam breaks.

The shared pill — an animal euthanasia drug that becomes a symbol of extreme choice — marks the boundary between power and powerlessness, between calculation and affection, guilt and the desire of protection. When Oh Young asks Oh Soo, ‘Why didn't you kill me when you could?’, the series makes its most radical move: noir and melodrama meet, measuring the distance between morality and the heart. She offers him justification, but he does not carry out the act. Not because he cannot, not because he has been discovered, but because he no longer wants to. It is no more a question of succeeding in deception. It is a question of responsibility.

In the final chapters, Oh Soo faces his destiny almost like a hero in a Jean Pierre Melville movie: he renounces his possessions, leaves money to pay off his debt, moves towards moral and emotional catharsis, ready to risk everything to save Oh Young. He is preparing for closure; he is the heroic figure who accepts the end. At the beginning, everything revolved around a monetary debt. Now the debt has become moral. He entered the mansion for money; he leaves it renouncing it.

The extreme gesture she makes is the point at which the melodrama reaches its absolute limit. But what makes the scene powerful is not the gesture itself — it is what happens afterwards. Oh Soo's rescue is not only physical. It is the definitive revelation of feelings. The moment when Oh Young “hears” the video confession in the secret room is perfectly consistent with the whole discourse on blindness as an alternative perceptual device. She does not see the confession. She perceives it, and therefore her lucid and painful analysis is devastating precisely because it is not hysterical. She is aware; here it feels like being inside one of Douglas Sirk's flamboyant melodramas; the truth does not immediately liberate, the truth hurts, but it is the only ground on which authentic love can grow.

In the minutes leading up to the epilogue, the show seems to want to return to its original rhythm: the time of debt and the time of illness overlap once again. On one side, the operating theatre, suspended between light and darkness; on the other, the green table, the final theatre of destiny. It is here that noir regains its breath: the crucial game, the tense silence, the man who plays not only to save himself but to free himself. gamble does not win out: it is choice. The financial debt is paid; the moral debt remains.

And just when it seems to be heading towards possible redemption, the story takes an almost Shakespearean twists. Betrayed friendship, a knife in the back, sacrifice imposed by blackmail: fate strikes with the dry cruelty of a Melville movie. For a moment, we truly believe that winter will never end. That everything must end there. The great melodramas of the early days taught us this: love is destined to be consumed by loss.

The ending chooses a brighter path, but not an easy one. There is an almost metaphysical passage: spring melting away the rigidity of winter. The atmosphere becomes airy, suspended, and we no longer know whether what we see is reality or desire. A ringing sound crosses the space — an echo of that sound that had replaced the gaze, an invisible thread between two solitudes. The pain encountered is not erased, but traversed. Not a reward but an achievement; if at the beginning everything arose from a stolen name, in the end what remains is an earned identity.

The work of the fantastic Song Hye-kyo is, first and foremost, physical. Keeping her pupils suspended in limbo for almost the entire series, her head slightly turned to listen, her posture composed, almost crystallized, is not a simple technical exercise: it is a dramaturgical choice. The fixed gaze in all those extraordinary close-ups becomes the opposite of emotional immobility. The more controlled the body is, the more the interior expands. Her Oh Young is rational, analytical, ruthless with herself. The tapes recorded in the secret room are not just memories: they are self-criticism. She is the first to judge herself. This detail avoids any drift into pity.
She is not the “fragile girl”. She is a clear-minded person who is suffering. The pivotal moment when she enters Oh Soo's room alone and lies down on the bed crying is devastating precisely because it is not dramatized. There is no hysteria. There is a silent collapse. It is not a lack of wisdom: it is an excess of analysis compared to the heart. Oh Young is a woman who understands everything — too much — and that is precisely why she hurts herself.

In contrast, Jo In-sung's work is pure movement. If Song Hye-kyo is subtractive and fixed, Jo In-sung is continuous muscular tension. A shifting gaze. A clenched jaw. Sudden outbursts. A body always ready to flee or sprint. He is an actor who works on the edge of implosion. In his other works, that tension was almost self-destructive. Here, it is more layered. The moment when he asks himself, “Why didn't I just cheat her? Why did I make her fall in love with me?” is the cruelest summary of the series. He doesn't cry because he's been found out.
He cries because he has crossed the point of no return. He has turned a plan into a feeling. And making a male protagonist cry without making him seem pathetic is a very rare balancing act. The writing supports it, but it is the acting that makes it credible: the emotion comes across as a breaking of armour, not as a request for empathy.

When kisskh talks about “chemistry”, it often means attraction or romantic intensity. Here, it's something more structural. She works by subtraction. He works by accumulation. She is control. He is nerve. She internalises. He externalises. Their complementarity is not only emotional: it is rhythmic. On stage, their breathing patterns do not coincide — and it is precisely this asynchrony that generates tension. When they reach the confession, the scene does not explode: it settles. There is no detonation. There is balance.

This is chemistry in the highest sense: two forces that collide and change shape. And that is why the series avoids tear-jerking melodrama. Both actors protect the dignity of their characters. They do not ask the viewer to cry: they remove any excuse for not doing so. She does not beg for compassion. He does not seek absolution. When they finally admit their love, it is not euphoria. It is lucidity. It is not liberation. It is responsibility. They are not celebrating a feeling. They are choosing to pay the price for it. Absolutely outstanding.

Perhaps winter is not a season, but a condition: one in which one lives when wearing a name that is not one's own. In the beginning, everything stems from a stolen identity, from survival built on deception. In the end, what remains is not melted snow, but the nakedness of a choice. It is not fate that changes characters: it is responsibility.

“That Winter, the Wind Blows” does not simply tell the story of an impossible love that becomes possible. It describes the moment when a man stops pretending to be someone else and finally becomes himself. And if spring arrives, it is not a miracle: it is the price paid for getting through that winter without hiding anymore.
9/10

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You can't rate this less than 8 even if you don't like it

Things I loved

1 How real it felt. How poignant it was. How frustrating it was. How sad it made me feel. Because it made me feel things it deserves at least an 8. It's so rare that it's worth mentioning it. I love romantic comedies and I'm almost never these days in the mood for drama, but the actress is one I learned to love and I wanted to check her other works. So I gave it a try and I agree with many comments that we forgot how to appreciate good art. This one wasn't perfect, but it was real and raw enough to make you think. To make you evaluate your life. To ask questions and dare to receive responses.

2 The acting of the main leads. I thought both were good and sometimes great.

3 The ending. It wasn't what I wanted but I get why the writers chose this ending. It was fitting. It left me with the feeling that they reunited so I cried but didn't despair.

Things I hated

1 The ending. I know it's contradicting, but I love clear endings and although I get why it was an open ending, I still hate it.

2 The 2FL. I didn't like the actress and I never liked her character either. To be honest, I think she was an idiot.

3 The 2FL. I know she has reasons to be mad and seeking revenge but I despise people who seek revenge using their means to do so. I was happy to know they weren't together in the end.

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Not Ji Sung’s Best | Started Strong, Ended Flat

I usually write long reviews, but this one will be short — because honestly, it was disappointing and did not live up to my expectations, which were quite high because of "Ji Sung" and the genre of this drama. The kinds of projects he usually picks tend to excel in every aspect — writing, acting, music, and overall execution. He generally shines in crime and investigation thrillers, so I naturally expected something gripping and intense. While the drama started off well, it quickly turned bland for me.

Around episodes 10–11, the adrenaline rush and suspense — which are essential for a drama of this genre — completely fizzled out. The villains weren’t nearly menacing enough, and the cat-and-mouse dynamic between good and evil felt hollow. The pursuit of justice lacked that fist-pump, edge-of-your-seat energy such dramas usually deliver.

"Ji Sung", as always, delivered a solid performance — that’s never the issue. He carries his roles with presence and conviction. But the storyline was weak, and the ending felt rushed and underwhelming. The supporting characters and even the antagonist had potential in their own right, but when the story itself is convoluted and poorly structured, it leaves little impact — both during the watch and after it ends.

I started this drama solely for Ji Sung, but unfortunately, this wasn’t one of his stronger works. I’d honestly recommend skipping this one and instead watching his better dramas in similar genres like "Defendant", "Doctor John", or "The Devil Judge" — the last one especially stands out for its seductive tone, music, and performances. And if you want something completely different, go for "Kill Me, Heal Me" — still my forever favorite. It was the first drama of his that I watched, and the one that made me a fan

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Beautiful, evolving love story

Beautiful, evolving love story.
OST is wonderful.
Cinematography is at its best.
And such chemistry between Song Hye Kyo and Park Bo Gum💞 I wasn’t familiar with FL and she is lovely, and of course 박보검 just lights up a room
Fantastic, supportive cast.
My suggestion—Skip episodes 14 and 15.
I don’t think these two episodes were written or produced by the same team.
ML and FL acting out of character, dramatically different vibe, and way too long to cover a short, unrealistic break up.
Rewatch value on this one is off the charts.

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Psychopath

At first, I really thought I was going to like this show. It felt like there was something deeper going on, especially when he started acting different. I figured he was faking from the beginning, but for a moment he actually seemed genuine. Then he went right back to being horrible.
I understand it’s a drama and exaggerated for entertainment, but the way he treated her was hard to overlook. The show almost makes it feel acceptable, and it’s not. No one should be treated like that in a workplace. When she tried to get revenge, I honestly felt like he deserved it. Even then, it wasn’t close to equal to how badly he treated her. Instead of leveling things out, he somehow managed to turn it around and become even worse.
Yes, it has funny moments, but the overall storyline feels more sad than romantic or comedic. The imbalance between them makes it difficult to fully enjoy the humor.
As for the performances, some of the acting was really strong. Others felt a bit overdone. It was strange how she would cry over small things but then show almost no emotion when he was around. The constant screaming also became annoying after a while — it felt unnecessary and distracting.
Visually, the show looked good. The aesthetics were clean and polished, nothing over-the-top but still appealing.
Overall, I wanted to love it, but the tone and character dynamics made it hard to fully enjoy.

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?

I know I see many people really like this show so I tried watching and yeah

I dropped halfway so below might not be accurate🙃

Overall, I think this is quite a great show. I quite liked the story cause it's interesting and also kinda heartbreaking💔💔💔. But it's a little confusing how and why she likes him too though it may be on my part caused I dropped it after they got together😭😭😭. I swear I'm not hating but that part didn't really sit right with me idk how to explain but yeah.

CAN I JUST SAY, THE ACTING IS SO DAMN GOOD😫. Especially 2nd lead like the way his eyes are turns red when he cries.

SIDE NOTE, the ml's mom and the senior's bf(can't rmb if it was the senior, but its the girl she opened the wrokshop with) made me want to jump💀💀💀. (not a hate to the actress and actors) BUT UGHHH THE MOM IS KINDA A BIT ANNOYING, RESPECTFULLY😞

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Truth or Dare? (I DARE you to watch this series)

Once again, the advent of the established pairing has brought along the loss of plot. Not that there was much to begin with, considering this was more And Then There Were None - with none of the nuance or intrigue. And you add to that two children with their pretend walkie-talkies as your leads? That's a formula about to blow up so quick.

The trailer made it seem like all the romance in the entire series was packed into it, even Joong and Dunk said so.. Now I know that they were made to lie! They said that romance was apparently only a tiny part of the story, the rest of it was a crime thriller. Their words had as much truth, as the story had mystery. And now I feel kind of weird having compared the leads - Kamin and Jade - to children because they behave more like teenagers. I hope the connection is made without having me spelling it out. Teenagers in love?

Everything in this story is BANG! BANG! BOOM! Including their attraction, which happens for no other reason but a shared trauma of hair in the eye. IYKYK, but if you don't, let's just say they never had to wear sunglasses because their hair provided excellent protection from the glare. They meet in episode one, are in love by episode four, and with just ten episodes, it's not a lot - but remember. This is supposed to be a crime thriller.

The writers clearly forgot that because having Joong and Dunk flirt on screen while all the other characters get killed off is.. well it does kind of sound like a plot I'd weirdly be into.. but no! There's a plot and time, and this wasn't it. The leads are introduced as two people dedicated to their jobs, it took them ten episodes to find the killer. Instead they just flirt inappropriately, everywhere they go. And you may ask, "But what is the place where you flirt appropriately?"
Not anywhere, anytime they did.

You are assigned to a high prolific murder case, where the victims are literally being picked off like flies, yet! It's the perfect time to play boyfriends and buy each other terrible fridge magnets.

Of course, to make up for the lack of any plot, we get weird segues to drug cases that, may or may not be related to the murders, no, that definitely was not an attempt to get Joong shirtless or have Aou and Boom make a cameo (the best part of the series by the way). (The cameo, not shirtless Joong, we got a lot of shirtless Joong).

To cap it all off, by all means, the big reveal was so hilariously predictable, I was actually gagged at how badly done it was because no way I was able to guess it in the second episode. Yes, I have watched my fair share of thrillers but ask anyone, I'm not the best as putting the dots together. If I was able to get it, we know the writing was laughable.
And after all of that, the conclusions for every single character made me so furious, genuinely, I haven't gone into the details of the "thriller" much (because again, it's not really a thriller), but the characters involved in that part of the story were actual trash on earth, and none of their actions got any consequences that we could see. Instead we got the hallmark of BLs, a beach trip.

I'm not even angry or disappointed, because in retrospect, that neon yellow poster told me everything I needed to know. They clearly tried to take this way too seriously and I say they should have leaned into the silliness. If it was truly meant to be as silly as it was, I would have loved it! (that's a lie, but who cares). But if you're going to be talking about serious topics or dealing with sensitive issues in your story, at least have the people dealing with it take it seriously. There's a lot going on this story, like I said, it was insanely fast paced, with many characters but no one really managed to make an impact. I actually called the leads by their actors names until the very end, that's how bad it was.

The writing, editing, all choices made here were definitely not done with any consideration.

Maybe there is something to be said for Joong and Dunk's chemistry though, they've had good chemistry for a long while but not enough that I believe your first meeting has you at odds and by the second encounter you're practically salivating at their thought. I did not buy the romance, or the mystery, anything they were trying to sell me.

Because again, I'm not angry or disappointed, I'm just. Numb? I got a few good chuckles and an Aou Boom cameo out of it, and I'll take it, even though it's not enough. And even if you enjoy buddy cop comedies and you've always shipped the buddy cops, I wouldn't recommend this to you.

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Difficult Topic But Entertaining Show

I was drawn to the show because I have seen the 3 FLs in different kdramas and wanted to see how it turns out. First of all, it brings a difficult topic to the forefront that before I even watched E1, the comments section was a drama into itself and everyone criticizing the FLs for their actions. WAKE UP! It’s just a tv show for us to be entertained. The plot line was intriguing infusing current day applications and how creative it can be used albeit in an abusive manner. The entanglement web of officials and professionals involved was very thought provoking. The storyline pulled me in and didn’t let go. Yes there were the typical stupid people kdrama moves in subplots but it kept moving forward. YES this is worth watching despite the chauvinistic reactions in some reviews and comments

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DiDi Is So Cute, And So Adorable! Hes Becoming So Handsome, And So Very Gorgeous! Dragon King Rules!

Yesterday, I Happened To Come Accross A 2 Minute, And Maybe 20 Second Video, It Had DiDi In It, So I Wasn't Going To Pass It Up... I DO NOT Care For Shen Yue, And Yes I Did Watch Meteor Garden... I Couldn't Even Watch Passed Episode #2 Or 3 On YouTube, So I Ended Up Buying The Whole DVD Box Set Just To Watch It. Even After Watching Meteor Garden I DON'T SHIP THEM!!! I Have Never Shipped Them... Anyways I Don't Understand Why People Ship Them, They Were Just Young, Dumb Kids That Were Supposedly In Love... No Just Kidding, I Did Really Like The Drama, But Shipping Them Both No!

I Only Rated This A 9.0, Because I Would Not Consider This To Be A Drama! I Really Wanted To Give It A 9.5, But Couldn't Just For The Fact That It Isn't A Drama. It's More Like Just A Small Skit. Even When The Show Itself Comes Out I Wouldn't Consider It A Drama Niether. This Is More About Them In Real Life Taking Care Of A Restaurant, And Making, And Preparing The Food. So No I Do Not Consider This To Be A Drama. SORRY!!!

The Video I Saw Was Of DiDi Walking Up To Shen Yue, And Giving Her A Quick Hug... Then It's Mostly Just Mostly Of DiDi, And Shen Yu Discussing Of Diffrent Things... Shen Yu Tells DiDi I Want To Write This, And DiDi Said That When A Certain Person Was Around They Didn't Have To Do That... He Sraight Up Says: Time To Work Now. Shen Yue Asks DiDi What Color Do You Chose For The Restaurant, DiDi Replys Blue! Lets Chose The Blue, The Of Color Of The Restaurant. I Thought That Was So Nice, And Sweet Of Her To Let Him Chose The Color. (I Will Admit That There Interactions With Eachother Are Very Sweet, And Loving, But Just As Good Friends Would Be, Maybe Even Best Friends, Since DiDi Did Go Up To Her, And Give Her That Hug.) Anways They Say They Were Going To Eat So She Helps Him Move A Cable Into The Bulding, And He Moves Some Chairs In For Them To Sit On. That's Basically It!!! I'm Asumming I Saw An Edit, Because I Saw Another One Symalar To The 1st One, But This One Had Just Music So I Skipped It.

I Will Try To Find The Full Version Of This, So That I Can Write A Better Review Of This... If I Do I Will Be Back To Write Another Review!!!

February 28th, 2026 At 7:37 A.M.-8:22 A.M.

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The "culture" of this show is a predator's paradise

Firstly, I understand I am not the target audience and I didn’t want to be harsh for an “idol romance” but if you are looking for the emotional intelligence and proactive charm of Hidden Love, stay well away from this absolute pile of bin fire. While marketed as a nostalgic, "sweet" coming-of-age romance, Our Secret is actually a 24-episode marathon of unpunished toxicity and pathological passivity.
The "Snail" Protagonist Female Lead is a masterclass in self-sabotage and immaturity. Framed as "shy" and "sensitive," she is, in reality, an emotional vacuum who refuses to communicate basic facts. Whether she’s sitting in a classroom seat she hates or pouting because she’s too insecure to speak, she behaves like a spoilt brat who expects the world to read her mind. Her "growth" is non-existent for the vast majority of the show; she simply remains a useless doormat for her family and peers.
A Wretched Culture of Non-Accountability with the most "demented" aspect of this script is the complete lack of justice. The show presents a lawless, predatory environment where villains are treated as "character-building" obstacles rather than criminals:
The Thugs: Stalk and ambush the leads? They just walk away.
The Peeping Tom: Caught taking non-consensual photos? The Male Lead just deletes the SIM card and lets the predator keep his camera and his freedom.
The University Senior: Blackmails the lead into a cybercrime and drunkenly assaults the FL? Not a single legal or academic consequence.
The Saboteurs: Colleagues who scam contracts and rivals who literally lock the FL in a storeroom are never held accountable.
The show pushes a deeply problematic message: Conflict is failure, and silence is virtue. It suggests that "good" people should just "eat bitterness" and endure abuse until they eventually succeed through academic merit. It ties a person’s right to safety and respect to their GPA, suggesting that if you are a "genius," you should be above caring about being tormented.
The central relationship isn't a partnership; it’s a babysitting gig. The Male Lead acts as a silent martyr, absorbing the world's filth to protect a girl who can’t even handle a drunken senior without turning into a trembling damsel. It’s "misery porn" disguised as a romance, where the only way to prove love is to see how much unpunished garbage the couple can survive together.
Verdict:
A regressive, illogical, and frankly infuriating watch. It celebrates submission over agency and stagnation over growth. Unless there is an interest in watching malicious individuals get away with everything while the leads pout in silence, give this one a wide berth.
1/10 – Fundamentally unfit for purpose

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My Feb Recommendation Challenge

Watched this for my Recommendation Challenge from 𝑳𝒊𝒈𝒉𝒕𝒆𝒓. Let’s talk movie…

The story spans ten years, beginning in 2005. Lu Qinyang (QY) is a "problem student" who falls head-over-heels for the top-tier student Ling Yiyao (YY). He famously confesses his love to her in front of the entire school, promising to give her a happy life and marry her one day.

As they move into adulthood, the "purity" of their high school romance hits the brick wall of adult reality. QY takes on dangerous and grueling construction jobs to save money to ‘fit’ for YY, while YY stays by his side despite her mother’s disapproval and better offers from wealthier suitors.

They were desperate to be together, they struggled against the harsh reality, and after all was said and done, is the love that they have still the same?

That's pretty much the story without giving any more spoilers.

This movie really portrays the harsh reality when love alone is not enough for relationships & building the future together. Qu Chu Xiao & Zhang Jing Yi, played their characters beautifully, I can feel their bitterness in the harsh reality.

I don't like the ending, but that’s really real life, when not all the story ends with a happy ending… :(

Overall I quite happy can watch this movie…. Just prepare your tissue when you want to watch this one...

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