Hong continues in the slightly experimental vein he explored in Right Then, Wrong Now and the result is a film that is both intriguing and enthralling. A second viewing will probably be necessary to pick apart the ambiguities in the plot but the familiar deftness of Hong's comedy makes that an altogether welcome task.
possessive love is fantastical. when you're no longer in possession of it it takes possession of itself and no intervention or willful action will change its shape. fantasy like this is subjective i guess and only becomes craycray confusing when you try to control it. this is my explanation for why this movie made very little sense to me at the time :)