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In the gloomy 80s, Sang-ho is wanted by the authorities for his participation in the student movement. Parting with his colleagues, Sang-ho happens to end up in a town on the outskirts, a town he has no connection to. The place where he is in hiding is the second floor of a worn down wooden house. Spending his time idly in the room, one day, Sang-ho discovers a hole looking into the room downstairs by chance. Casually looking through the hole, Sang-ho exhales. At first, Sang-ho tries to avoid looking, out of guilt. However, before he knows it, he is drawn to the hole. Every gesture she makes is very captivating and seductive. He watches her body, feels her, and takes her into his heart. She lives a confined life, like Sang-ho. Her husband locks the door from the outside as he goes to work. Then one day, Sang-ho sees Tae-yeol drop his keys on his way out. Picking up the keys, Sang-ho hesitates before opening the door and going in. Sang-ho is very used to seeing Hee-ran lying face down ... Written by
Don't listen to the other reviewer, he doesn't know what he's talking about. This movie is basically an allegory to the situation in South Korea during the '70s and '80s, and the presence of the student (a democratic rights protestor) who flees to the countryside only helps to bring this home. The wife who is imprisoned in her home and the husband, who is a security guard, are the embodiment of the South Korean people (the wife) and the South Korean government/establisment (the husband). The student is burgeoning democracy. It's when the student finally touches/comes into contact with the wife, that the wife begins to realize that her situation (one of imprisonment) is now how she should live. With the student's presence, the wife is able to break free of her husband's stranglehold. Where once she was content with the status quo, she is now striving for something more. So too was South Korea during the '70s and '80s. Anyone who has studied South Korea would know this. Anyone who hasn't will think the film is meaningless.
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