Suzy & Lee Jin-Wook Upcoming Movie – Seven O′Clock Breakfast Club for the Brokenhearted

Breakups are ordinary, yet they never feel small. They leave people raw, shaken, and questioning who they are. Seven O′Clock Breakfast Club for the Brokenhearted takes this pain and turns it into a story about strangers meeting over early morning meals.

Sa Gang is one of them. She is a flight attendant who once believed love with Pilot Jeong Su would last. It didn’t. The relationship ended, and the breakup left scars. Ji Hun is another.

He is a consultant instructor who thought his long relationship with Hyeon Jeong, a teacher, was stable. It ended too. Both carry wounds that weigh on them.

They find themselves at a strange yet comforting place — a 7 a.m. breakfast club. It is not a place for food alone. It is where brokenhearted people gather to share their stories.

Some come for healing. Some come for the company. Others come simply because silence at home feels too loud. Sa Gang and Ji Hun, in their own ways, are searching for answers they cannot find alone.

The setting is unusual but grounded. A breakfast table becomes the stage for grief, laughter, and fragile beginnings. This film focuses not on the drama of grand romance, but on the aftermath of love’s collapse. It shows how people try to pick up the pieces in small ways.

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Beyond Romance: A Reflection on Healing

Adapted from Baek Young Ok’s novel, the film leans into reflection rather than spectacle. Director Im Seon Ae shapes it as a quiet but layered story. The cast helps make it believable.

Bae Suzy plays Sa Gang, adding subtle detail to a woman who hides pain behind routine. Lee Jin Wook portrays Ji Hun, a man who cannot hide how loss has drained his daily life.

Yoo Ji Tae appears as Jeong Su, the pilot whose breakup with Sa Gang broke her sense of direction. Keum Sae Rok plays Hyeon Jeong, Ji Hun’s ex, adding her own weight to the story.

The concept of the breakfast club goes beyond casual meetings. Each person brings not only their words but also symbolic items tied to past relationships. These “souvenirs of broken hearts” are reminders of love that has ended.

Sharing them becomes a ritual of letting go. It turns a small gathering into something larger: a way of facing pain together rather than alone. The story also highlights a philosophy: endings are not failures but beginnings.

The trailer hints at this with the line, “You have to end well to start well again.”

It suggests that closure, however painful, opens doors to healing. It is not about quick fixes, & it is about accepting wounds as part of life.

The film’s core idea—that sharing our “souvenirs of broken hearts” can be a ritual of release—is a powerful one. It challenges the viewer: What symbolic item would you bring to the breakfast club?

It’s not about the object itself, but about the act of naming your pain and choosing to share its weight, making the intangible grief something you can finally begin to let go of.

This idea separates the film from typical romantic dramas. Most stories in the genre focus on love starting or rekindling. This one lingers on what happens after everything falls apart.

It is a romance film stripped of fantasy. Instead, it deals with the reality of moving forward when love has already left.

 Who Will Connect With This Story?

• Viewers tired of cliché rom-com endings that tie everything up with a neat bow.

• Anyone who has ever sought solace in a community of strangers, online or offline, after a personal loss.

• Fans of character-driven dramas where dialogue and silence carry more weight than plot twists.

• K-culture enthusiasts looking for films that explore modern Korean relationships beyond the typical drama tropes.

Release Date

The Busan International Film Festival will host the premiere on September 22, 2025. The wider cinema release is set for 2026. Its placement at Busan signals an attempt to frame it as more than a simple romantic feature. It aims for conversation, not just entertainment.

The film is scheduled for theatrical release in Q1 2026 following its festival premiere. Its selection for BIFF’s Competition section positions it for potential international distribution and festival circuit exposure.

The performances carry heavy expectations. Suzy, once only seen as a bright idol figure, has spent years proving she can embody layered, difficult roles. Her role here requires restraint and tenderness, qualities that match the film’s quiet mood.

Lee Jin Wook often plays intense figures, but Ji Hun demands something slower and more reflective. Yoo Ji Tae and Keum Sae Rok add credibility through their grounded presence.

Yet, there is reason for caution. Films about heartbreak can sometimes turn into long lectures about sadness. They risk becoming heavy without offering insight.

Ending

Whether this film balances honesty with hope remains to be seen. Its success will depend on whether the characters feel authentic rather than staged symbols of grief.

Still, the structure is intriguing. A group of strangers connected by nothing but heartbreak could easily feel contrived. But the morning setting adds realism. Breakfast is not glamorous.

It is routine, quiet, and almost mundane. To place heartbreak in that setting grounds it in everyday life. It suggests healing is not dramatic but slow, shared, and sometimes awkward.

Unlike grand melodramas, it narrows in on breakup culture and community healing. That focus could make it stand out in search results among K-drama and Korean movie fans looking for stories about realistic recovery.

The film may also resonate with anyone who has sat through the emptiness after love ends.

It suggests that loneliness feels less heavy when shared. That strangers can mirror back what you cannot see in yourself. That healing, though painful, is not impossible.

Seven O′Clock Breakfast Club for the Brokenhearted is not about dramatic declarations or sudden reconciliations. It is about what happens when the curtain has already closed.

For viewers tired of predictable romance, this film offers something else: quiet mornings, broken people, and the fragile beginnings of acceptance.

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