Synopsis
Sex Is Zero (색 즉 시 공, Saekjeukshigong), directed by Yoon Je-kyoon, is a South Korean sex comedy that features raunchy college humor with unexpected heartwarming elements to it. Similar to some American teen comedies such as American Pie, the film turned out to be a major box office hit in South Korea after its release in 2002, and later, it gained a cult following for its bold humor, gangster-like performances and distinct mix of slapstick and sentimentality.
Located in the fictional Han Se university, the film revolves around Eun-sik (now played by Im chang jung), a socially awkward, but kind hearted law student in his late twenties. Eun-sik also doubles as a member of the school’s body building club. Eun-sik’s military service makes him a few years older than his classmates, and, while he should have matured by now, he emotionally hasn’t. He has a huge crush on one of the most beautiful girls in the university, who also happens to be extremely popular, Eun-hyo (Ha Ji-won), who he still attends aerobics classes with.
From the outset, Eun-sik’s crush on Eun-hyo sets the stage for the romantic comedy. His daydreams and botched attempts to win over her heart culminate in a string of indignities, most of them primal, vulgar, and steeped in sexual or physical comedy. Constantly, he is depicted as the collapsed, misnamed, and socially diegphan joke stuffed shirt who becomes the butt of the all-too-kittenish jokes played by sharper young debs on his set embarrassed peers of younger men.
The aerobics team has more in common with the bodybuilding club than one would expect, which allows for additional juxtaposition between the strutting, pose obsessed men and the more image concious women. During scenes where the male characters extraordinary exercises take some sensational bounds, fueled by a testosterone and drinking frenzy, and rototiller professional pelvic-level chatter like the male vulgarism contest, their female counterparts are portrayed as sophisticated, albeit insidiously competitive and sexually attractive.
Eun-hyo, however popular, strikes the viewer as extraordinarily exposed, making the film emotional, if only for a second. Still, she is romantically entangled in a hidden, abusive mutual sex relationship with a male classmate who externally goes through the motions of accepting her, while cruelly disregards her for everything else. The noise of empty sexual embodyment that surrounds passengers is too striking compared to her quiet self-pity and desire of genuine love and warmth.
No matter how twisted and off the walls Eun-sik might be, he still treats Eun-hyo relatively better than everyone else, which shows a degree of affection on his part. This affection goes beyond just physical desire; it stems from an emotional place—albeit one he cannot articulate due to his social ineptitude. The film transforms from an assault of raunchy humor into a nuanced examination of unreciprocated love and personal development, particularly in relation to women.
The film’s frequent tonal shifts to uproarious laugh out loud comedy is masterfully blended with it’s perhaps most controversial, yet intriguing component in the final third of the film: Eun-hyo’s character arc. She goes through an unimaginable ordeal of an unplanned pregnancy ensuing with an abortion. Although serious, this subplot profoundly shifts the tone of the film, diverging from its comical undertones. While some may see this as a complicated mess, this latter development of the film garners added dimensionality to the characters, strenghtening the film as a whole and transcending it’s generic film roots.
Eun-sik’s perfectly possesses the lack of intelligence to beleive he is offering supplort later on and caring for the unplanned mother while undergoing the emotional turmoil that comes with such tribulations, displayong a more rational side to himself. This character transformation is subtle but pivotal in understanding that, beneath the jokes and layers of humor, is a story that evokes compassion concerning the learning process of growing up and the sensitivity of relationships in all their forms.
In the last moments of the film, Eun-hyo starts to appreciate Eun-sik’s unwavering love and his actions begin to alter her perception of him. Although their relationship as a couple remains ambiguous, their emotional closure is gratifying and mature, built on respect and a reconceived outlook toward affection.
Cast & Crew
Im Chang-jung as Eun-sik
In his portrayal of Eun-sik, Im shines through with charm and vulnerability. Instead of becoming a caricature, he sustains earnestness while showcasing notable comic timing and physical expressiveness, two aspects where he excels. Whether through slapstick or heart, Im’s emotional sincerity is what resonates at the end. As a musician, he’s renowned for his comedic ballads.
Ha Ji-won as Eun-hyo
Haji-won crafts a notably deeper character than one would expect. Initially portraying a rather typical “it girl,” she, only gradually, reveals the nuances of someone dealing with emotional baggage and societal demands. From a surface level beauty to a wounded young woman who is both relatable and fragile, her transformation is remarkable.
Choi Sung-kook, Yoo Chae-yeong, and Shin Yi
These supporting cast members enhance the film’s outlandish humor. From hypersexualized students to wildly caricatured athletes, the actors portray over-the-top characters that deepen the film’s rowdy and exuberant tone.
Directed and Written by Yoon Je-kyoon
His career as a director started with this film. He later went on to direct big-budget blockbusters like Haeundae (2009) and Ode to My Father (2014). Here, he demonstrates a willingness to take risks, particularly in terms of content and tone. His blending of serious themes and crude comedy in Sex Is Zero makes this film stand out from its many counterparts within the genre.
IMDb Ratings
As of 2025, the film has a rating of 6.7/10 on IMDb, sex is zero remains to be controversial it stands as one of the notable flicks within South Korea’s early 2000s cinema. The controversies surrounding its graphic content and abrupt changes in tone fracture audiences.
Slopes comedy and romance critics have claimed the film is rooted partly in social commentary. The surprising addition of the abortion subplot was unexpectedly poignant for many, considering the lens of a shallow teen sex comedy. For a majority, the film’s attempt to use raunchy humor as a means of critique with a blend made distinct.
Critics remarked that the film presented an emotion provoking element that needed to be evaluated more closely, even when it fell back on tired clichés and blunt representations. Many critics cited the performances of Im Chang-jung and Ha Ji-won as the ones focal in the emotional centerpiece of the film.
The film performed remarkably well commercially within South Korea, with more than 4 million viewers. This success led to a sequel being produced, Sex Is Zero 2, which featured Im Chang-jung alongside a new female lead character and placed greater emphasis on comedy and romance.
Conclusion
An outrageous and shocking film like Sex Is Zero does not follow any straightforward categorization. It arguably should fall under a colligate comedy—filled to the rim with crude jokes, inelegant sexual humor, and ridiculous physical antics. Contrary to the blatant frivolity, the film actually includes an intricate, strong, and deep storyline revolving around emotional tenderness and pride. It accurately outlines the obstacles young adults grapple with when dealing with the intricacies of interpersonal relationships and self-esteem.
Unlike the majority of sex comedies, Sex Is Zero makes an oddly strong statement considering the lack of sensitivity usually shown towards important issues. It leaves viewers in stitches while simultaneously forcing them to contemplate—and yes, even feel—something more profound.
For admirers of unusual crossovers and complex narratives, Sex Is Zero brings both shocking and mesmerizing experiences. This movie evokes a blend of emotions ranging from laughter, discomfort, and ultimately introspection. While it can be understood as a crude escapade or an audacious critique on romance and maturing, it still captures its stance as a masterpiece in Korean comedy.
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