Many viewers believe that the film is going too far in assigning a character who has just passed the age of 18 the behaviors and psychology that are considered belonging to mature women.
In the film, the female lead is introduced as having just graduated from high school, setting a "invincible, immature" setting. However, in contrast to the dialogue and context, the characters' actions, gestures and way of expressing affection have a proactive, bold and much more mature color than their age. This phase difference makes many viewers feel uncomfortable with it, even offended because the character image is inconsistent from the beginning.
The problem is not that the female character has feelings or experiences in love, but that the script continuously pushes up the level of intimacy in a sudden way, lacks restraint and does not have a reasonable psychological change. Many scenes are set in public spaces, common activities or sensitive situations, creating the feeling that all limits are erased, causing the love story to lose the necessary sophistication of the TV series.
Notably, the relationship between the male and female leads was still maintained under the name of "brother" for a long time, even though both knew they were not related by blood. The fact that the script allows the two characters to express their affection openly, lack psychological barriers, and are almost unconcerned about family or living conditions together makes the audience question the reasonableness and responsibility in storytelling.
A typical example is the intimate scene of 18+ Can Trieu (Ngu Thu Han) and Khuong Mo Mo (Ha Du) being spread. In this scene, the two characters are in private space, having intimate gestures beyond the necessary level, even secretly passing back and forth when the mother appears outside.
What caused the audience to react strongly was not only the boldness of the scene, but also the fact that the film targeted a young audience. Many opinions say that such content is deviant, uncontrolled and not suitable for viewers.
Yu Shuxin's performance has also become a topic of discussion. The actress showed an image of "half innocent, half seductive" - a familiar form of expression but not really suitable for the context of a character who is of mature age. This unintentionally blurred the line between the innocentness of youth and manifestations that were considered too mature compared to the original setting.
"Song Quy" shows the ambition to create drama and attract viewers with bold emotional elements, but it is the lack of restraint and logic in the script that becomes a big minus point.
For a film aimed at young audiences, such character building is not only controversial but also raises questions about the crew's responsibility in choosing the message and the way to tell the love story on screen.
