Park Min-young, Wi Ha-jun on Prime Video Thriller ‘Siren’s Kiss’

Is she a killer, or is she being framed? That’s the query at the coronary heart of “Siren’s Kiss,” Studio Dragon’s new romance thriller touchdown on Prime Video on March 2.

Directed by Kim Cheol-gyu, whose earlier credit embody “Celebrity” and “Flower of Evil,” the sequence facilities on three interlocking characters: Han Seol-ah, a fascinating artwork auctioneer suspected of being a serial killer; Cha Woo-seok, an insurance coverage investigator drawn into her orbit despite his suspicions; and Baek Jun-beom, a conglomerate inheritor surrounded by secrets and techniques. The solid is led by Park Min-young (“Marry My Husband,” “What’s Wrong with Secretary Kim”), Wi Ha-jun (“Squid Game”) and Kim Jung-hyun (“Crash Landing on You,” “Mr. Queen”).

For Kim, the project represented a possibility to push his inventive instincts to their restrict. “From the opening of the first episode to the closing of the final one, tension never lets up,” he says, describing the sequence as one crammed with “fresh concepts, unpredictable storytelling, and striking visual composition.” He provides that the style “allows and demands a director to fully express their creative vision, imagination, and personal style,” calling the likelihood to helm the project “a tremendous stroke of luck.”

Park, taking on a markedly different function from her earlier work, describes Han Seol-ah as “a woman who has confined herself within ice.” To seize the character’s duality – a cultured skilled exterior masking profound internal darkness – the actress made deliberate bodily and psychological changes during manufacturing. She drank practically three liters of water daily and, reflecting the character’s emotional desolation, prevented something more sustaining. “Han Seol-ah is a woman who has emotionally stopped nourishing herself,” Park explains. “Surrounded by repeated tragedy, she survives on water and alcohol alone.” She also employed the lowest vocal register she might produce, including a slight breathiness to her supply – a departure she describes as not like something she has tried before.

On the styling entrance, Park drew on research into real-world auctioneers to develop a glance that tracked Seol-ah’s shifting emotional states. Strong colours and daring supplies outlined the character’s public-facing persona, while impartial tones and slim silhouettes appeared in her more personal moments. “Compared to the office looks I’ve shown before, I wanted to convey a more avant-garde sensibility,” she says.

Wi Ha-jun, who says he read the whole script in a single sitting – one thing he describes as uncommon for him – was drawn to each the sequence’ stress and its undertow of heat. “Although the series is dense and filled with tension, it also carries warmth and a sense of human compassion,” he says, suggesting the present might supply viewers “a sense of healing simply through watching.” His strategy to the character’s action sequences was equally thought of; slightly than prioritizing approach, he targeted on what each motion might reveal emotionally. “I wanted each movement to reveal his emotional state, his mindset, and his relationship with the person he is facing,” he says.

Kim Jung-hyun, meanwhile, gravitated towards the instability at Baek Jun-beom’s core. “His demeanor shifts dramatically depending on the situation. At times he treats people as objects; at others, he shows an almost excessive warmth,” the actor says. He distills the character’s relationship to Han Seol-ah in a single picture: “If Han Seol-ah is the sun, Baek Jun-beom is Icarus.”

The three-way dynamic between the characters, Park suggests, defies simple categorization. “Their relationship does not begin with warmth or affection. It starts from emotions closer to resentment,” she says. “They dislike each other, yet cannot help but want to see one another again.” Wi Ha-jun describes the trio’s connection as current on “a precarious boundary between suspicion, love, and obsession.” Kim Jung-hyun likens it to a series – one that, dealt with carelessly, may snap or tangle, however dealt with with care, may yet be unraveled.

The sequence makes in depth use of an artwork public sale home setting, and Kim Cheol-gyu says the visible potentialities that setting introduced had been central to the manufacturing’s identification. “A remarkable number of artworks appear throughout the series – perhaps more than in any drama to date,” he notes, including that these works “interact organically with the characters’ psychology, costumes, and emotional states.” Park notes that the manufacturing employed a digital camera lens beforehand unused in Korean drama, which she believes contributed to a glance she would describe with a single phrase: “dangerously beautiful.”

A specific sequence in Episode 5, through which all three characters collide for the first time, stood out to each the director and solid as a manufacturing highlight. “Watching the final edit with the music layered in, I remember thinking, ‘Did I really direct this?’” Kim Cheol-gyu says. On the score more broadly, he notes that the inventive team pushed for music “entirely unique to this series,” and expresses confidence the soundtrack will draw important consideration upon release.

“Siren’s Kiss” is a Studio Dragon manufacturing. The company, a subsidiary of CJ ENM, is behind such titles as “Crash Landing on You,” “The Glory,” “Queen of Tears” and “Marry My Husband,” among others.