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The most spectacular aesthetic feature of the film is that director Hur Jin-ho resorts to discontinuous editing in narrating the story. He adopts a linear and unrestricted narrative but presents the sober psychological status and the aberrant extra-marital affairs of the key characters, In-su (Bae Yong-joon) and Seo-young (Son Ye-jin), in the form of clips of shots without reducing the causality of events. This narrative structure forces the audience to associate the spatial and temporal relations of the sequences and thereby strengthens the involvement of the audience in digesting the diegesis. The adoption of cross-editing, even more intensive at the second part of the film, in portraying the psychology of In-su and Seo-young and their dilemma on their respective spouse presents a fine narrative parallelism under very slow pacing.

In visual aspects, Hur manages to use situation and camera framing as visual motif. The visuals of the road ahead framed from behind the windscreen (in several shots) are connotative of the future direction of the couple. Camera remains fairly static in most of the screen time to complement the melancholy mood of the story. The film does not come with many dialogues and Hur replaces dialogues with non-diegetic marooned piano music of high pitches almost throughout all sequences.

The film in its entirety is loaded with a sober mood and does not bear any fragrance between the two key characters. The development of their affairs starts with their respective shock on and disappointment of their own spouse, which is the backbone of the story. Son stages with her usual melancholy outlook. Fanatics of Bae and Son will find their bucks on the movie spent worthwhile. However, if anyone is looking for a more fragrant story and vivid staging of actors, the film may not be a good choice.

註：本評論純屬影評作者個人意見，並不代表本網立場。
Note: This views presented in this review is solely the views of the critic who wrote it and do not represent the stance of our website.

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