Nana’s character in “Mask Girl” receives negative responses for extreme and provocative setting
Nana made her comeback with “Mask Girl” but viewers poured complaints over her character.
As the Netflix series “Mask Girl” has emerged as a controversial drama, attention is drawn to the main character Kim Mo Mi. In particular, Nana takes on the role of Kim Mo Mi B, who changes her face by undergoing plastic surgery and lives a splendid life as a showgirl then gets imprisoned. However, viewers complained of discomfort over violence and sensationalism caused by the character portrayed by Nana despite her little screen time.
Released on August 18, “Mask Girl” tells about Kim Mo Mi, an officer worker with an appearance complex who works as an Internet broadcasting BJ covering her face with a mask every night, getting caught up in an unintended incident.
The main character Kim Mo Mi is played by three actresses, Lee Han Byul, Nana and Go Hyun Jung, at three different stages in her life, including an online broadcasting BJ, a showgirl, and a prisoner.
“Mask Girl” was adapted from a webtoon of the same name and made into a seven-episode drama. Therefore, changes have been made to many parts of the content, the story developments, and the characters’ relationships. As a result, the drama shocks viewers with many new twists.
However, the twists could cause inconvenience to viewers. Some may stop watching “Mask Girl” in the middle of the drama. It is due to the extremes and provocations depictions of the characters. Kim Mo Mi portrayed by Nana murders Joo Oh Nam (Ahn Jae Hong) and spends 30 million won on fixing her face before living as a showgirl.
However, Kim Mo Mi cannot seek medical treatment after committing the crime. She ends up brutally killing Choi Bu Yong (Lee Joon Young), who works with her as a showgirl. She’s also seen abandoning her child. While the child’s father is not revealed, through Kim Chun Ae’s lines, there’s a hint that the child’s father is Joo, raising the possibility that he is Joo Oh Nam, who was killed by Kim Mo Mi.
Even after receiving a sentence of life imprisonment, the uncomfortable stimuli persists. In fact, Nana’s backside was exposed in full during the scene where she enters prison, undresses, and undergoes inspection, evoking unease. While the possibility of using body doubles is high, one might question whether the continuous exposure was truly necessary in the work.
Later on in prison, shocking elements continue as the female lead protagonist continuously assaults the “lower-tier” prisoners to ensure that no one bothers her. These scenes give the impression that in order to survive, one must trample on, hit, and beat down others.
Throughout the viewing experience, the unsettling nature of “Mask Girl” creases the brows. While the directorial aspects and the exceptional performances by the actors are impressive, the extreme discomfort leads to divided responses. Nana’s sensational performance aside, after finishing the work, only the provocative elements remain etched in memory.
Source: Daum
