Why If pulls the audience deep into Jiman’s fractured inner world. When did you decide not to clearly separate reality from delusion, and why was that ambiguity essential to the story?
Lee Soo-sung: From the very beginning of developing Why If, my intention was to move back and forth between Jiman’s delusions and reality so that not only Jiman, but also the audience, would fully immerse themselves in his character and constantly question whether what they are seeing is real or imagined. I believe this reflects the world we live in today—life is becoming increasingly complex, and more people are struggling mentally because of it.
The violence in the film is sudden, shocking, and deeply unsettling. How did you approach portraying murder not as “spectacle,” but as a psychological consequence of obsession and paranoia?
Lee Soo-sung: I approached this entirely by following Jiman’s psychology. Only at the end does the audience fully realize that these events were caused by his delusions. I hoped that moment would encourage viewers to reflect on themselves as well.
Jiman is both the protagonist and an unreliable narrator who cannot trust his own reality. How did your background as a storyteller influence the way you constructed his mental collapse on screen?
Lee Soo-sung: These days, films are becoming very clearly divided between theatrical films and OTT/home-viewing films. I wanted to make something that truly belongs on the big screen—a film that demands focus and immersion in a theater. That’s why I’ve been thinking a lot about unique concepts and structures, and Why If is a result of that approach.
The reappearance of Jiman’s wife is one of the film’s most disturbing moments. Did you want audiences to read her presence as supernatural, psychological, or symbolic—or was the discomfort of not knowing the point?
Lee Soo-sung: When someone commits a wrongdoing and fears that it will be exposed, they become extremely anxious. In the film, when the wife Jiman accidentally killed appears to come back alive, I wanted his anxiety to reach an extreme level. The key point is Jiman’s intense psychological instability. It is not meant to be supernatural.
Obsession with “creative failure” plays a crucial role in Jiman’s breakdown. Can this be read as a commentary on artistic pressure and the fragile ego of creators?
Lee Soo-sung: Ultimately, the root of Jiman’s obsession and suspicion toward his wife lies in the fact that his novel is not turning out the way he wants it to. His creative frustration is the core trigger of everything that follows.
The film repeats cycles of guilt, violence, and denial. How did you design this loop visually and narratively so it feels like a claustrophobic psychological prison rather than something repetitive?
Lee Soo-sung: All scenes were shot handheld. I worked as both director and cinematographer, and although it was physically demanding on set, shooting handheld allowed me to respond intuitively to Jiman’s emotions as I watched his performance through the viewfinder. I believe this instinctive camera movement made the film feel more intense and dramatic.
The Dark Scream Film Festival focuses on psychological and horror cinema. Why do you think Why If resonates especially well with this festival’s audience?
Lee Soo-sung: Why If is somewhat different from conventional horror or thriller films. Its uniqueness lies in how the audience is drawn into Jiman’s emotional state. I think that emotional immersion is what makes it a good fit for the Dark Scream audience.
After watching Why If, audiences may begin to question whether reality itself can be trusted. What emotions or thoughts did you hope would stay with viewers after the film ends?
Lee Soo-sung: First of all, as a married man myself, I hope viewers come away thinking, “I should treat my wife better.” More importantly, I want them to feel that distorted delusions, when left unchecked, can ultimately destroy everything. Lastly, I would like to sincerely thank the Dark Scream Film Festival for their love and support of Why If.
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