Spoilers ahead.
In my limited exposure to films, I don’t think I have seen a film capture this utter helplessness and mental isolation that comes with living in this digitized social and corporate slavery world as earnestly as Next Sohee did.
A few months ago, I thought to myself that there’s a growing disconnect that every 20-something person I know is feeling, a sort of decay that no mainstream film is really capturing. We are still being sold the same rehashed tropes and ideas from decades ago, and we are all lapping them up.
This growing disconnect is something some are able to express, but some aren’t. No one’s really talking to anyone, really. I’ve had conversations with people only to hear stock responses, to the point that I dread conversations sometimes because I know what I’m going to hear. I’ve had “heartfelt” conversations with people only for us to forget entirely about what we’ve said to each other an hour ago. Only to repeat these same talking points the next time we meet as if it’s the first time. I’ve literally been having the same conversations every day with my flatmates / friends from a decade ago, yet we are not moving on because we aren’t really listening to each other. I meet up with some other friends, and the usual response I always get is “Chal hi raha hain yaar.” Each conversation feels like nothing more than an attempt to mask the void of awkward silence with rehearsed kinship.
No one’s at fault here. Everyone’s just lost and exhausted, too numb or too brainrotted to care about the person before them. You want to meet a friend? That means making time you don’t have, spending overpriced auto or cab fare, or riding through impatient traffic, terrible roads, potholes, spending money on ethanol-blended petrol. And when you finally meet, you’re scrolling your social media feed every 10 minutes into the conversation, you’re thinking about your journey back, about what you need to do next, about whether you’ll have enough energy to wake up, hit the gym, and log in by 9.
On some level you know that all your friendships are just one move away from ending — maybe one of you stops reaching out, and neither cares enough to give a fuck, maybe a workplace transfer, maybe a marriage, maybe a breakup, maybe someone moving in with their partner.
It’s hard to make dating work too. Both of you are stuck in terrible work atmospheres, and neither of you has the emotional bandwidth to be there for the other. When Park tells the detective, “I thought she was sulking as usual” and “I had to go to work,” it hit like a ton of bricks. If this weren’t an earnest film, you’d want to villainize him. But you see the way he changes from a happy-go-lucky person to a shell of himself, and you realize he’s helpless. Quitting isn’t easy. To take care of your health you need money, and to get the money you sacrifice your health. It’s a horrifying loop the lowest rung of workers live in. Those who sell a bit of their souls climb the ladder, and in return treat those below them with the same soullessness.
Maybe the bleakest moment in the film is when a bereaved father calls customer care to cancel a subscription because his kid is dead, and Sohee has no option but to respond with that rehearsed, forced pleasantness. Because if she slips, she’ll be reprimanded, her team will turn on her, the whole structure will punish her. That scene is suffocating, and anyone who’s been in corporate knows exactly what that kind of mechanical “tact” feels like.
Her zoned-out mother. Her tired father. Her alcoholic friend. Her friend who noticed something was off but didn’t know how to reach her. Each of them shows the same lethargy in the soul, the slow uncompromising decay of capitalism eating people alive.
The second half of the film makes it obvious. Yoo-jin pieces together the systemic workings that broke Sohee, but the answers are already obvious to us. Middle management is wired to not think in terms of humanness but in terms of data. Fancy figures on a sheet can never capture the burden Sohee carried, the weight that made her end her life. For every Sohee who breaks, there are a hundred who don’t, who continue in the system. She’s replaceable. That’s why the system never feels responsible. The manager blaming the school, and then her suicide for their bad reputation, says it all. He can’t afford to think in human terms because if he does, his own boss will destroy him.
When my friends and I got hired through campus placements in 2022, we cheered, we hollered, we were ecstatic. The energy was infectious. University was ending, the corporate world was opening, we thought life was beginning. That night we drank, we dreamed, we promised to stay in touch, to meet every month, to finally be independent, to marry our partners, to date, to do everything we wanted.
Now the meetups are almost gone. Living is brutal. Those with partners broke up. Those single are still single, still struggling, because they don’t have the time, money, energy, or confidence to date. Honestly, it’s hilarious on some level.
This capitalistic, corrupt world has eaten into everything. And as we look forward, with talk about work hours increasing, CEOs dismissing dwindling workplace morale as “Gen-Z entitlement” or “laziness,” friendships have become time consuming and heavy on the pocket, love, marriages reduced to transactions, news filled with suicides, “moment of passion” murders, spouses killing off their better halves in ingenious way, impatient road-ragers, scams at every turn, food quality deteriorating — what’s left? Even empathy, even community, the only comfort we could rely on from the soullesness of the corporate world has been swallowed up by the system too. The collective decrease in morale is clearly palpable.
The film ends with Yoo-jin watching a single video Sohee left — her dancing in the studio, her one joy. She was the best dancer, she loved it. But she had to quit because work wouldn’t let her have the time.
Perhaps if even one of the aspects in Sohee’s life weren’t this bad, maybe she wouldn’t have taken the step – maybe a deserving pay, maybe a less stressful work environment, maybe a good work-life balance, maybe if she had the time to go to the dance studio regularly, or maybe even if her friends and family living healthy lifestyles could help her deal with what she was going through. Who knows?
Maybe this piece of writing is too disjointed, bleak and pointless, maybe things aren’t so bad, and maybe I am just being a whiny, privileged person, because some people have it way worse, and don’t even have a job. But Next Sohee hit on something raw and unacknowledged that I haven’t seen in any film, something that is paplable to so many, but is hardly spoken about. Much like the customary corporate dinner party celebration, all support systems, and ‘Take Care of Your Mental Health’ messages seem empty, because they fail to address their utter meaningless that comes from all the stress that people deal with as corporate employees – at the sacrifice of their own health.