Dead Again (2025)

Newspapers run breathless headlines about a 1948 slaying: Margaret Strauss is found mortally stabbed during a home invasion, her delicate anklet missing from her ankle. Police arrest her husband, Roman Strauss, a once-celebrated composer who has fallen into financial ruin. Investigators discover Roman in the bloody aftermath grasping the murder instrument; he stands trial, is convicted of his wife's murder, and receives a death sentence. Hours before the execution, reporter Gray Baker gains a private interview with Roman in the cellhouse. When Gray asks whether Roman took Margaret's life, Roman leans close and seems to murmur something into Gray's ear. Gray leaves without telling anyone what Roman had said.

Forty-three years later private investigator Mike Church, who spent part of his childhood in an orphanage, becomes involved with a woman with no memory who has turned up at that same institution. She cannot recall her name, does not speak, and suffers recurring nightmares. Mike arranges for his pal Pete Dugan to run the woman's photograph in the paper with his own contact information. An antiques dealer and amateur hypnotist named Franklyn Madson takes an interest in the case and approaches Mike, proposing that hypnosis might unlock her past.

Madson stages an initial hypnotic session in his cluttered shop, but it yields little. He then suggests a more controversial approach: past-life regression. Mike listens skeptically while Madson induces the woman into a deep trance. The woman begins to recount events in the voices of others, narrating Margaret and Roman Strauss's courtship, marriage, and domestic tensions as if recalling a different era. When the brief session ends the woman can speak a few words, yet her episodic memory remains fragmented. Mike notes with surprise that she bears a striking physical resemblance to photographs of Margaret Strauss; he nicknames her "Grace" and brings her into his apartment.

As Mike spends time with Grace, he grows protective and increasingly attracted to her. She begins to adapt slowly to contemporary life, but complications arise when a man named Doug arrives, claiming that Grace is his fiancée Katherine. Mike confronts Doug and quickly uncovers the lie; Doug flees after Mike forces him into the street. Backed by Pete's investigation, Mike learns more about Grace's elusive identity and the strange details she produced under hypnotic trance.

Under further hypnotic sessions Grace recounts specific elements of Roman Strauss's life: acute writer's block, precarious finances despite past success, and mounting jealousy toward reporter Gray Baker, whom Roman suspects of encouraging Margaret's flirtations. Grace also recalls a household boy named Frankie, the son of the Strauss family housekeeper, Inga. In her trance Grace sees Frankie rifling through Margaret's jewelry box and recognizes that Margaret confronts him. She remembers asking Roman to dismiss Inga for allowing her son's intrusion, but Roman refuses, telling Margaret that Inga rescued him during the Nazi era and that he would not fire her.

During one regression Grace opens her eyes and describes a vision in which Mike is standing over Margaret with a pair of scissors raised. She becomes convinced Mike intends to harm her. Mike insists he would never do that, but in a tense, half-joking moment he slips and calls Grace "Margaret." The slip unnerves him. Seeking to understand why the angry image of himself appears in Grace's memories, Mike consents to undergo regression under Madson's guidance.

While under hypnosis Mike experiences a startling, visceral recollection: the feelings, the gestures, the role of Margaret herself. He comes to an overwhelming realization--within the regression he is the person who lived as Margaret, and the woman he calls Grace was Roman Strauss. He emerges from the trance shaken and does not disclose this revelation to Madson or to Grace, unable to reconcile the discovery with his present life.

Pete continues his detective work and identifies Grace through art-world contacts as Amanda Sharp, an artist who had been assaulted during a mugging and lost her memory. Pete tracks Amanda's recent paintings, noting recurring motifs of scissors throughout her canvases. Madson introduces Amanda to the idea that Mike might be dangerous; in a paranoid gesture he hands Amanda a handgun for protection and advises her to keep it. Amanda accepts the weapon, jittery and unsure who to trust.

Seeking the truth about Roman's last words and the unresolved question of Margaret's murder, Mike locates Gray Baker in a nursing home. Gray, aged and brittle, tells Mike that Roman did not confess any crime to him in the cell; instead Roman leaned forward and kissed Gray. Gray insists that he never heard a confession and believes Roman was innocent. He urges Mike to find Inga, who might know what actually transpired on the night Margaret was killed. Gray mentions that Inga later went into business with her son in antiques, which prompts Mike to make a connection: the antiques dealer Franklyn Madson is actually Frankie, Inga's son.

Convinced he must confront Madson, Mike breaks into Madson's antiques store and pushes through the tangle of furniture and oddities to find Inga. He questions her about the old household and the events leading to Margaret's death. Inga, trembling, recounts the day in 1948 when she told Roman that she loved him; Roman rejected her earnest declaration. Frankie, humiliated and angry, blamed Margaret for Inga's humiliation and resolve to strike back. That evening Frankie followed Margaret, stabbed her with scissors, and took her anklet from her ankle before fleeing the scene. Roman returned to find his wife's body and the scissors in his hand; the authorities concluded Roman had killed Margaret. Inga admits that Roman did not kill Margaret and that he paid with his life anyway--he is executed as the state carries out his sentence.

Inga tells Mike that after the execution she took Frankie to London to hide him. There Frankie learned about hypnotherapy and returned years later obsessed with the possibility of past lives and vengeful spirits. Picking up on that obsession, Frankie changed his name, opened an antiques business as Franklyn Madson, and staged himself as a man who could bridge life and memory with hypnotic suggestion. When he sees Amanda's photograph in the paper and recognizes her likeness to Margaret, he decides to eliminate her; he comes to believe that Margaret's spirit has returned in Amanda and will take vengeance. To separate Amanda from Mike and to manipulate events so he can strike, Frankie hires the con man Doug to create false claims about Amanda's identity and to drive a wedge between them.

Inga, weeping, gives Mike Margaret's anklet that she had hidden for decades. She confesses her role with Frankie, apologizes for the long concealment, and pleads for forgiveness. After she places the anklet in Mike's hand, Frankie moves without warning: he smothers Inga to death with a pillow, pressing the cloth over her mouth until her breathing stops. Frankie murders his mother to prevent her from undoing what he has plotted. He cleans the scene swiftly and resumes his public persona as the kindly hypnotist.

Mike rushes to tell Amanda what Inga has confessed. He finds Amanda in her small artist's apartment; she reacts with terror when Mike says Roman is innocent and Frankie is the murderer. Mistaking Mike's urgency for threat, and still frightened by Madson's earlier insinuations and the gun Madson gave her, Amanda fires a shot into Mike's chest. The bullet knocks Mike to the floor; he falls and lies breathing shallowly. Franklyn Madson arrives at the apartment immediately afterward, moving with practiced calm. He steps between Amanda and Mike and manipulates the scene to frame Amanda: he puts the scissors--the same type used in the 1948 killing--into Mike's limp hand to make it appear that Mike had been the aggressor or that Amanda had shot in self-defense against an attacker holding the scissors.

Mike is not dead. He regains consciousness, summoning enough strength to seize the scissors and jab Madson in the leg. The wound causes Madson to cry out and back away. Pete Dugan bursts into the room at that moment, sees a chaotic tableau--Mike holding scissors, Amanda wielding a gun, Madson bleeding--and tackles Mike to the floor, misinterpreting the situation as an assault. As chaos unfolds, Madson scrambles for a pistol he keeps on the table. Amanda reacts by plunging a pair of scissors into Madson's back. Madson, screaming, turns and lunges toward Mike in a blind fury. Mike steps to the side and uses Amanda's sculptural arrangement of scissors--one of her metal assemblages featured in her studio--to pin Madson in motion. Madson impales himself on the protruding blades of the sculpture; the force of his charge drives him onto the art installation and he dies from a combination of the stab wound to his back and the fatal impalement on the scissors.

Investigators arrive and examine the scene. They find that Madson is actually Frankie and that Inga's anklet is in Mike's possession. The discovery of Inga's confession and the anklet, combined with evidence tying Frankie to the old household and to the antiques business, leads authorities to reopen aspects of the old case. The chain of violence is clear: Frankie murdered Margaret in 1948 with scissors and stole her anklet; he manipulated a frame that sent Roman to death row; after decades of obsession Frankie returns to finish what he believes is necessary to stop the return of Margaret's spirit; when Inga threatens to expose him, Frankie suffocates her; when Mike arrives to confront Amanda with the truth, Amanda shoots in panic; Frankie tries to pin guilt on Mike, but the struggle turns deadly for Frankie as Amanda stabs him and he then impales himself on her sculpture.

Following the struggle, Amanda and Mike stand together in the wreckage of the apartment. Police and paramedics process the scene, and Amanda gives a full statement about being assaulted months before, losing her memory after the mugging, and acting in fear when she perceives Mike as a threat. Mike collapses in a mixture of shock and relief; he survives the gunshot and the subsequent blows. He and Amanda reconcile in private after the police conclude their interviews. Mike returns the anklet to Amanda; she places it on her ankle and looks at it with a dawning recognition of the continuity between her past and present identities.

The film closes with a sequence that intercuts a present embrace between Mike and Amanda with archival-like recreations of happier times between Margaret and Roman. Mike and Amanda wrap their arms around one another in sunlight as images of Margaret and Roman dancing at a wedding and walking hand in hand through a garden play over the scene. The final image fixes on the anklet shining on Amanda's ankle as she and Mike step out into the street together, their hands linked while the memory of old tragedies settles into a new, fragile peace. The credits roll after the investigation files close on Frankie's death, Inga's murder is recorded as a homicide by suffocation at Frankie's hands, and the old murder conviction that condemned Roman remains marked by the revelation that he was innocent of Margaret's killing.

Short, simple version of the ending:

At the end of Dead Again (2025), Min-hyeok finally understands that the sudden "reset" to the beginning of the Vietnam trip is tied directly to his own death and to the betrayals on that vacation. Each time he dies, the trip starts again, forcing him to relive the same days, his affair, and the mounting tensions with Hae-ji, Seon-woong, and Mi-mi. In the final cycle the film shows, Min-hyeok stops treating it like a coincidence and faces what he has done. He tries to protect everyone from repeating the same cruel choices that keep leading to violence and death. The last scenes leave him alive at the point where he had first died before, fully aware that if he repeats his selfish actions, he will die and "start again" -- and if he changes, the loop may finally end. The film closes with Min-hyeok facing this moment, not yet dead again, but finally understanding the cost of his previous lives on that trip.

Now, the expanded, step-by-step narrative of the ending:

The film is in its late stretch when Min-hyeok experiences another sudden, crushing pain in his chest. It is not the first time for him; by now, the audience understands, even if it is not stated out loud, that Min-hyeok has reached this exact moment before. The scene is set in Vietnam, during the couple's trip that seemed bright and carefree at the beginning. The light is harsher now, the colors less playful. Min-hyeok is surrounded by the same people as in earlier cycles: his official partner Hae-ji, and their friends Seon-woong and Mi-mi, who are here as another couple.

Just before the pain hits, Min-hyeok has once again been juggling his roles. On the surface, he is Hae-ji's boyfriend, cracking jokes, posing for pictures, pretending that this trip is only about rest and romance. In secret, he has been continuing a thrilling, hidden relationship with Mi-mi, the other man's girlfriend. Their affair has been carried out in stolen moments: brief meetings in corridors, shared cigarettes on balconies, quick touches when Seon-woong and Hae-ji are turned away. The film shows that Min-hyeok has been drifting between the two women, acting as if the vacation's bright atmosphere can contain the danger of what he is doing.

In the cycle prior to the final one, the movie shows the consequence clearly. Min-hyeok's body fails him in a moment that feels, to him, random: sudden pain, breath gone, the world narrowing. He collapses, reaching for air, the people around him panicking. Hae-ji's face fills the frame, her eyes wide and wet. Seon-woong and Mi-mi move in and out of focus, shouting for help, grabbing their phones, trying to reach someone who can save him. Min-hyeok hears voices fading and returning, hears a mix of panic and anger. That cycle ends at the moment where the sound smears into a dull roar, and everything goes dark.

Then, as at the opening of the film, he opens his eyes and finds himself back at the beginning: waking up on the first day in Vietnam.

The ending of the movie begins with one more of these resets, but this time, the pattern is clearer. Min-hyeok regains consciousness with the same jolt, in the same room, on what he knows -- and the audience now recognizes -- is the first morning of the trip. The same light through the curtains. The same message notifications on his phone. The same voice from the hallway, Hae-ji calling for him to hurry so they can start the day. The previous times, Min-hyeok's reaction was simple confusion, a shaky attempt to rationalize what is happening: maybe it was a dream, maybe he misremembered, maybe he is just hung over. This time, he does not dismiss it.

He sits there on the bed longer, breathing slowly, feeling his own chest with his hand, as if making sure his heart is really beating. The film lingers on his face: there is fear, but also recognition. He knows the order of conversations that are about to happen. He knows what bar they will go to that night, what restaurant, what street they will walk down with neon signs reflecting on the wet pavement. And he knows that if he behaves exactly as he did before -- if he pursues Mi-mi, if he continues lying to Hae-ji and to Seon-woong -- the day will unfold toward the same intangible dread and the same point of collapse.

He steps out of the room and meets Hae-ji in the hallway. She is as she was at the beginning of every cycle: excited, relaxed, innocent of what is truly going on. She teases him for being slow, nudges his shoulder, talks about the schedule she has planned. Earlier in the film, Min-hyeok smiled automatically, gave her a light kiss, played his role. Now his reaction is delayed. He watches her -- really watches -- as if seeing a person he has already hurt but has been given another chance with. He answers her more carefully, his tone softer.

They go to meet Seon-woong and Mi-mi in the lobby. The same scene repeats, but Min-hyeok's awareness changes its texture. Seon-woong is cheerful, tossing jokes, clapping Min-hyeok on the back. Mi-mi stands slightly apart, looking at Min-hyeok with that coded, secretive gaze that the audience now recognizes as the silent signal of their affair. In previous cycles, Min-hyeok returned the look, an almost imperceptible smile passing between them like a spark. In this final cycle, he breaks that pattern. He avoids the locked gaze. He keeps his eyes on Seon-woong a little longer than usual. Mi-mi notices the difference; her eyebrows twitch, just slightly, in a question.

The movie then takes them through the day's itinerary, but now the viewer is aware that each place has been visited before, under slightly different emotional conditions. They walk through the hot streets of Vietnam, tourists among crowds, souvenir vendors calling out, scooters buzzing past. The group eats at a street stall -- the same one, with the same plastic stools and the same old fan rattling overhead. Hae-ji reaches across the table to wipe some sauce from Min-hyeok's lip, laughing, as she did before. In earlier cycles, this made him aware of Mi-mi's stare, and he felt a selfish thrill in being desired by both women at once. In this final stretch, the camera stays longer on Hae-ji's hand, on Min-hyeok's expression as he lets her wipe his face. He looks unsettled, as though the casual intimacy now feels heavy with meaning.

At a later point in the day, the group returns to their lodging to rest before going out again. This is where, in earlier resets, Min-hyeok arranged "a thrilling secret meeting" with Mi-mi. The scene has a specific rhythm that repeats: Seon-woong announces he will take a nap; Hae-ji says she wants to shower; Mi-mi waits in the corridor, pretending to scroll on her phone. Past-Min-hyeok stepped out under a flimsy pretext and slipped into a quiet stairwell or a back corner of the property with Mi-mi, where they kissed and whispered, their voices hushed but excited.

In the final cycle, Min-hyeok recognizes this junction. He feels the impulse to repeat it as if it were a script his body wants to follow. He sees Mi-mi in the corridor, leaning against the wall, glancing toward him with the expectant look she has worn before. The film shows his hesitation very plainly: he slows down, his breath shallow, his eyes flicking toward the stairwell, toward Mi-mi, then back toward the room where Hae-ji is. Mi-mi shifts her weight, clearly waiting for him to make a move or offer an excuse to leave the others.

Instead of going to Mi-mi, Min-hyeok steps back into the room with Hae-ji. He closes the door fully this time, not leaving it ajar as he did in a previous round. Hae-ji, mid-motion with a towel in her hands, looks at him in surprise. There is no big speech. The film keeps the dialogue terse and practical, but his choice is made visually as he stays in the room with her instead of sneaking out. Outside, in the corridor, Mi-mi waits for a while, staring at the door, her face hardening. The loop of their secret meeting is broken.

Later, the four of them head out into the night again. The same street is full of lights, music, and crowds. In prior cycles, this is where tensions began to mount: little slips in behavior, drunk comments, the strain of Min-hyeok's divided attention. This time, he is quieter. At the bar, when Mi-mi tries to isolate him for a moment -- a trip to the bar counter, a cigarette outside -- he keeps the interactions brief and public. Seon-woong remains unaware of the undercurrent, laughing and drinking. Hae-ji periodically squeezes Min-hyeok's hand or leans her head against his shoulder.

The physical moment of Min-hyeok's "fated" death arrives again. It is triggered by the same set of circumstances: too much alcohol, heat, excitement, and a surge of adrenaline. In earlier cycles, it happens after a hidden argument with Mi-mi, or a heated confrontation when their secret nearly slips out. The movie has shown that explosive cocktail of guilt, fear, and temptation building in his chest right before his heart seizes.

In the ending, the scene before his collapse plays out differently. Instead of being alone with Mi-mi in a side alley, Min-hyeok is on the main street with all three: Hae-ji at his arm, Seon-woong a step ahead, Mi-mi on the other side. The conversation is ordinary: where to go next, whether to find another bar or head back. The camera, however, sticks close to Min-hyeok's face. His breathing becomes noticeable again. He hears echoes of the previous times: the way Hae-ji screamed his name, the way Mi-mi's face twisted between fear and something like regret, Seon-woong's frantic shouts for help. The sound design hints at those echoes, overlapping with the present street noise.

He knows that this is the place, the time, the moment his heart is supposed to fail.

Min-hyeok stops walking. The others take a few steps before they notice. He presses his hand to his chest, expecting the sharp, crushing pain. For a second, his expression matches the exact look he had in earlier deaths -- terror, confusion. Hae-ji turns to him, concerned, asking what's wrong. Seon-woong steps closer. Mi-mi freezes, watching intently. The movie holds on this instant. The pain begins to rise, the familiar signal that everything is about to shut down.

At this critical point, Min-hyeok forces himself to act differently. He does not pretend to be fine, does not wave them off or slip away. He grabs Hae-ji's arm with real urgency, looks at her not as a bystander in his crisis but as someone he trusts. He tells them directly that his chest hurts, that something is wrong, that they need to get help right now. In previous cycles, he collapsed without warning in front of them, leaving them scrambling and unprepared. Here, his admission comes before he falls.

Seon-woong reacts immediately, switching from relaxed tourist to practical friend. He calls for a taxi, looks around for a nearby clinic or hospital, shouting at people in English and broken local phrases. Mi-mi steps in, supporting Min-hyeok from the other side. She is no longer a secret conspirator in his deceit at this moment; she is one of the people trying to keep him upright and conscious. Hae-ji holds his face with both hands, telling him to stay awake, to breathe, her voice shaking.

The camera emphasizes the physical struggle: the way his legs buckle, the way their arms strain to keep him from collapsing onto the pavement. The glow of neon signs flickers across their faces as they move him toward the street, waving down a cab. The driver shouts something; Seon-woong answers with short, desperate instructions. The door of the taxi wrenches open; they push Min-hyeok inside. Hae-ji climbs in next to him, holding him in her arms. Mi-mi and Seon-woong squeeze in, making the car crowded and chaotic.

Inside the taxi, the pain continues, but something is different: the film does not cut abruptly to black, as it did before. Instead, Min-hyeok's field of vision narrows, but he remains conscious. He hears Hae-ji repeating his name, feels her tears on his cheek. Seon-woong is on the phone with an emergency line. Mi-mi, pressed against the door, watches with eyes that are wide and almost disbelieving, as if she cannot reconcile the frivolous man she flirted with earlier and the struggling person in front of her now.

They reach a clinic or small local hospital. The doors swing open. Staff rush out with a stretcher. Min-hyeok is lifted away from his friends, the fluorescent lights of the hospital hallway blurring overhead. The camera follows from his point of view as faces appear above him, speaking in a language he barely understands. He tries to keep his eyes open, flashes of previous deaths flickering in his mind -- the sensation of air slipping away, the quiet that followed. This time, professionals are already working on him, attaching monitors, giving oxygen, checking his pulse.

The movie does not show the full medical procedure. Instead, it cuts to a later moment: the beeping of a monitor, the steady rhythm of a heart. Min-hyeok wakes up in a hospital bed. His chest feels heavy, but the pain that once signaled the end is now a dull echo. A nurse moves in the background. The room is calm.

Then, one by one, the others enter.

Hae-ji is first, her eyes red from crying. She approaches the bed slowly, as if afraid he might vanish. Seon-woong follows, shoulders slumped with the exhaustion of the long night, but with relief visible in the way he exhales. Mi-mi stands in the doorway for a moment, not sure where she fits, then steps inside as well. They all gather around him. No one makes a dramatic speech.

Min-hyeok looks at each of them in turn. The camera holds on his eyes as they move from Hae-ji to Seon-woong to Mi-mi. In earlier cycles, he died without acknowledging his role in the tangled bonds that led them here. Now he is alive, fully aware of what he has done and of the resets that brought him back.

The film makes a key point about each character's fate through this quiet scene:

– Min-hyeok is alive. He has not "died again" this time. The loop of waking up on the first day, at least for now, has been interrupted. He remains in the hospital bed, breathing, aware of the pattern that preceded this survival.

– Hae-ji is at his side, not yet knowing about the full extent of his betrayal from the earlier cycles, but fully present as his partner, the one who held him when he was dying and who stayed. Her fate at the end is to be the person still linked to him, facing whatever comes next in their relationship, which the film does not resolve but leaves open.

– Seon-woong stands close by, the sturdy friend who took charge when panic threatened to overwhelm them. His fate in this final stretch is to remain Min-hyeok's friend in deed, the one who refused to let him slip away in the street. He has not been told about the affair in any explicit way in this ending sequence; he is simply the loyal presence, his trust in Min-hyeok not yet visibly shattered.

– Mi-mi remains in the room but slightly apart. She sees Min-hyeok alive after a moment when she might have watched him die again. Her fate is more ambiguous, but the final scenes position her not as an enemy or avenger, but as someone who shared in the wrongdoing and now bears witness to its cost. She is not punished on screen; she is not forgiven on screen either. She just stands there, eyes on Min-hyeok, absorbing the reality that their secret nearly ended his life.

The last moments of the movie return to Min-hyeok's inner experience. He lies back on the hospital pillow, the monitor continuing to beep steadily. His eyes close briefly, and for a second, the viewer might wonder if he will wake up once more back in the Vietnam hotel room on the "first day." But when he opens his eyes again, he is still in the hospital. Hae-ji is still there. Seon-woong is still there. Mi-mi is still there.

He understands that the chance he's been given -- to live through the trip again and again -- is no longer something that will simply repeat without change. The reset to the beginning has stopped at the point where he chose differently: he refused the secret meeting, he called for help, he let people in instead of bearing the panic alone. The film ends with him alive, fully conscious of the pattern and of the people who almost lost him.

The final image leaves Min-hyeok looking not at any one person, but straight ahead, as if facing the future of this single, un-reset life. The neon and chaos of Vietnam are gone, replaced by the plain, bright light of the hospital room. He has not died again; he has lived long enough to reach this quiet aftermath with Hae-ji, Seon-woong, and Mi-mi all still alive, all present, and all bound to what happened on that "vacation" that kept starting again.

There is currently no widely released or documented movie titled Dead Again (2025), so there is no authoritative information about a post‑credits scene for such a film.

Because the only well-documented film by this title is the 1991 Kenneth Branagh thriller, and other uses of "Dead Again" correspond to earlier unrelated projects, there are no credible production notes, reviews, or audience reports describing a 2025 film or any post‑credits content for it.

Min-hyeok is laughing and drinking with Hae-ji, Seon-woong, and Mi-mi when an intense stabbing pain grips his chest; his vision tunnels, the hotel room sound stretches into a high-pitched whine, and he collapses, gasping. Just as he is sure he is dying, the screen cuts hard to black, then opens on the airport departure hall, the same announcements and the same off-key busker's tune playing as in the opening sequence, with Min-hyeok standing there clutching his suitcase. At first he thinks it's a dream, but the exact repetition of tiny details--an arguing couple passing by, Hae-ji's identical joke about his overpacked luggage, the boarding call phrased word-for-word as before--makes him understand that he has somehow been thrown back to the first morning of their Vietnam trip, with his memories of the future still intact.

Dead Again (2025, Korean thriller/romance/mystery set largely on a couples' trip to Vietnam) is not family‑friendly; it is aimed at adults and older teens due to its sexual themes, tension, and emotional intensity.

Without plot spoilers, potentially upsetting elements include:

• Sexually charged situations
  • Focus on a man juggling affection between his wife and another woman, with "thrilling secret meeting" and implied infidelity as a key hook of the story.
  • Romantic/sexual tension and adult relationship dynamics that are not appropriate for children.

• Strong themes of infidelity and betrayal
  • Marriage/relationship betrayal is central, with lying, secrecy, and emotional manipulation that could be distressing for sensitive viewers.

• Death and repeated dying
  • The main character experiences sudden intense pain, stops breathing, and "wakes up" again, with the vacation repeatedly ending in his death; this looping of death can be disturbing or anxiety‑provoking for some viewers, especially kids.

• Psychological tension and dread
  • Thriller tone with mystery about why he keeps dying and what is really happening, including sustained suspense, fear of death, and a sense of entrapment in time or fate.

• Emotional cruelty and guilt
  • Heavy focus on consequences of selfish choices, regret, and guilt that may feel emotionally harsh or upsetting to younger or very sensitive viewers.

There is no detailed, English‑language parental guide yet for this exact 2025 feature, but based on its genre, marketing, and plot description, it is best treated as an adult thriller rather than family viewing.