Son Ye-jin’s Most Controversial 18+ Movie: No Body Double in Hot Scene, Her Beauty 15 Years Ago
Widely celebrated as one of South Korea’s “nation’s sweethearts,” Son Ye-jin has long been admired for her elegance and acting prowess. However, she has also taken bold risks in her career, most notably with the 2009 psychological thriller White Night, which included several daring nude and sex scenes that she performed herself without a body double.
Directed by Park Shin-woo and adapted from the acclaimed Japanese novel Journey Under the Midnight Sun by Keigo Higashino, White Night tells the story of a pawn shop owner’s murder and the 14-year investigation that uncovers dark secrets and tangled relationships.
In the film, Son Ye-jin plays Yoo Mi-ho (also known as Lee Ji-ah), a woman haunted by a tragic and mysterious past. Her character serves as the emotional core of the story, connecting the complex web of secrets and traumas.
Critics praised Son’s performance as fearless and deeply layered. Hangul Celluloid described her portrayal as “flawless, utilizing her incredible acting skills to the fullest,” while James Mudge from Beyond Hollywood called her performance “brave, multifaceted, and crucial to the film’s emotional and twisted impact.”
Notably, Son Ye-jin and co-star Go Soo performed the intimate scenes themselves without stunt doubles, showcasing their dedication to the authenticity of their characters. According to IMDb, their professionalism added emotional weight to the film’s exploration of brokenness and human vulnerability.
However, the explicit scenes also sparked controversy. Some viewers criticized the sex scenes as uncomfortable and potentially unnecessary, while others argued that they were vital to understanding the characters’ emotional and psychological depth. Discussions on AsianWiki reflected this divide, with one user noting, “While the story and acting were impressive, the explicit scenes could make some viewers uneasy.”
Son Ye-jin herself later admitted that filming the sensitive scenes was challenging. She expressed concern that audiences might misunderstand the intent, emphasizing her hope that viewers would see the artistic necessity behind them.
Despite the mixed reactions, White Night received critical acclaim for its storytelling and production quality. Paul Quinn from Hangul Celluloid praised the film’s “gorgeous cinematography (even in horrifying scenes)” and its “near-flawless pacing,” calling it a remarkable debut for director Park Shin-woo. Beyond Hollywood lauded the film as “one of the best Korean films of 2009” and “a rare thriller that respects the audience’s intelligence.”
Commercially, however, the film’s performance was modest. White Night debuted at number two at the Korean box office, selling 292,504 tickets during its opening week and totaling around 945,938 admissions nationwide. Compared to Son Ye-jin’s other blockbuster successes, it wasn’t a standout in terms of revenue.
Nevertheless, White Night remains a highly respected work in Son Ye-jin’s filmography — a testament to her willingness to tackle complex, challenging roles and solidify her reputation as one of Korea’s most versatile and courageous actresses.
