At the seashore village, there are many widows: fishing boats often go out to sea and become lost in storms, along with their crew of men. The widowed women work by the sea, sharing their burdens and their loneliness with one another. Hae-sun (Ko Eun-ah) has only been married a short while, but her husband dies in a fierce storm and she becomes a widow. Sang-su (Shin Young-kyun) relentlessly pursues the young and attractive Hae-sun, and the two end up sleeping together. Hearing Sang-su brag all over the village that Hae-sun is now his woman, her mother-in-law (Hwang Jung-seun) and her brother-in-law (Lee Nak-hun) arrange for Hae-sun and Sang-su to leave the village together. The two wander from place to place, stopping at quarries and mountain villages. Hae-sun’s pretty face draws the attention of men wherever they go, and this makes Sang-su increasingly possessive of her. When a hunter starts eyeing Hae-sun, the enraged Sang-su murders him. Hae-sun faints from the shock, and Sang-su goes to fetch some medicine, but loses his footing near a cliff and falls to his death. In the end, Hae-sun returns to the seashore village, and the village women and her mother-in-law greet her back with open arms. —IMDb
Born in 1929, KIM Soo-yong is a legendary senior figure in Korea’s film industry. He made his debut in 1958 with and directed more than 100 movies through 1999 with . He made many popular commercial films of the past decades, such as (1965) as well as some 50 literary movies based on popular Korean novels such as (1965) and < The Foggy Town>(1967). In his later years, Kim Soo-yong served as an administrator in various capacity. He was the first movie director to serve as the president of the prestigious [The National Academy of Arts]. As the chairman of Korea Media Rating Board from 1998 for six years, he helped relax the censorship criteria on movies. Thanks to this, movies with highly sexual contents such as by [JANG Sun-woo] and by [PARK Jin-pyo] could be released without much commotion. —koreanfilm.or.kr
A touching and lyrical little melodrama. The place you grow up sometimes becomes apart of you and even when you have no practical reason to be there anymore, deep down you long for it. Hae-sun knows she will be happier with Sang-su even if it means not being near the sea, but she holds on to everything that reminds her of it. As her mother in law puts it "I don't think we could sleep without the sound of the ocean".