Decision To Depart Streaming: The Place To Look At Online?
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Decision to Leave full movie is no stranger to the pageant, having won the Grand Prix for “Oldboy” in 2003 and last showing with “The Handmaiden” in 2016. Explore the historical past and individuals who run Cinema/Chicago & be a part of the group. See which movies impressed critics on the just-concluded seventy fifth Cannes Film... Here what at first looks like curiosity, rapidly turns into an obsession. An obsession that doesn't appear to be repressed and yet never explodes although the two individuals involved are absolutely conscious of the state of affairs, and both reciprocate their emotions. The only fault that could be taken from the film is related to the script.
Watching this you presumably can instantly see why he received Best Director at Cannes Film Festival. As South Korea’s entry into the Oscars, this may be a cinephile’s dream movie and will be talked about in movie courses everywhere. It’s Park’s first movie in six years, following a post-“Handmaid” detour to do the English-language TV miniseries “The Little Drummer Girl.” And it places him right back the place he left off, as a outstanding visual stylist who doesn’t always know when to cease but all the time is conscious of tips on how to impress. And on Monday, veteran Korean director Park Chan-wook premiered his new film, “Decision to Leave,” as a half of Cannes’ main competitors.
It’s another story of an excellent cop falling for one of his suspects and making the type of mistakes that occur in thrillers when officers cease using logic. Of course, “Decision to Leave” does take a turn, although I wonder if will most likely be sharp enough for Park’s rabid followers. To this viewer, it develops into a fairly nifty piece of style work, a thriller that’s expertly made even if it doesn’t quite hum like the best Park films. The incontrovertible fact that an excellent, well-made thriller feels virtually like a disappointment given this creator’s pedigree is just a testament to the work he’s produced earlier than. When detective Hae-joon arrives on the scene, he begins to suspect the useless man's spouse Seo-rae.
As the very married Hae-jun seeks to get rid of the newly widowed Seo-rae as a homicide suspect, sly flirtation evolves right into a mutual recognition of kindred spirits, which blossoms right into a forbidden, if chaste, love affair. If The Handmaiden was Park’s riff on the English drawing-room melodrama, Decision to Leave suggests Alfred Hitchcock’s Vertigo as filtered through an anal-retentive tackle Law & Order. An avid climber, Ki Do-soo (Yoo Seung-mok), has tumbled to his demise from a mushroom cloud-shaped mountain and hotshot detective Hae-Joon (Park Hae-il) suspects murder. As the police examine the scene, Park mounts a formalist present that must be the envy of even that master of cinematic murder investigations, David Fincher.
In one of the film’s many evocative pictures, Park emphasizes flashlights piercing the darkness of woods as seen from a bird’s-eye view, suggesting that the urge to discern the truth is sinister and futile. Following the grisly demise of her husband, Seo-rae (Tang-Wei) fails to show the standard signs of grief, prompting crackerjack investigator Hae-joon (Park Hae-il) to think about her a suspect within the man’s murder. Over the course of a series of stakeouts and interrogations, Hae-joon is more and more drawn to his magnetic, mysterious target.
But it sticks the touchdown completely, with a resounding resolution that hammers home the emotional throughline of the story. This is a movie about two individuals deeply uncomfortable with their place within the modern world, who via each other have needed to grapple with both meanings to the act of leaving; what happens when we leave someone, and what of ourselves we go away behind. Hae-joon is drawn to Seo-rae because he notes she has a “classical” vibe, and she or he herself feedback on what sets him other than different trendy people. In a world that feels suffocating and passionless, one thing as old style as a detective-suspect affair has an plain enchantment. When a hiker falls from atop a mountain, fingers begin pointing to the corpse’s Chinese wife, Seo-rae .
At once a masterfully-crafted police procedural and an incisive meditation on the character of affection and identity, Decision to Leave is a tour-de-force of neo-noir filmmaking. Hitchcockian to its core, the film’s gleefully twisting plot retains audiences guessing as it spirals toward an epic conclusion. Winner of the Best Director prize at the Cannes Film Festival, veteran auteur Park Chan-wook expertly weaves together every intriguing thread as he spins this haunting tapestry of homicide, insanity, and deceit. The truth is that the primary half of this movie, despite its very robust craft, has a script that might have been a Bruce Willis erotic thriller in the Nineteen Nineties with barely a rewrite.
Wrapped within the investigation of the unusual dying, Hae-joon’s interest in the girl quickly transcends the professional as he turns into enamored with the primary suspect. Focusing simply on character does a disservice to how much of a visual feast Decision to Leave is. From starting to finish, you’re reminded of the unparalleled dynamism that fills the director’s work; with impactful sound design, beautiful framing, and genius edits (just as it’s talked about how blowflies lay eggs on cadavers, we minimize to Hae-joon cracking an egg right into a pan). Decision to Leave is probably not as flashy or sumptuous as some of his other work, but in his first collaboration with cinematographer Kim Ji-yong, there’s plenty of sweeping tracking photographs, extreme pans and impossible perspectives (from a lifeless man’s eyes or under a morgue sheet) to pore over. Park Hae-il is terrific as lead character Hae-joon, an investigator whose face droops with weariness and paperwork-induced ennui.
There’s another thriller that’s thrust into Hae-jun’s life and it forces him to rethink each choice he made within the first case and what issues to him now. Park plays with elements of not just noir but the old school romance films that Seo-rae likes to observe. He basically units these characters up, defining them within the first half, after which bounces them off each other in unexpected ways within the second half, finally leading to a rewarding thriller even when it lacks the sharp edges we’ve come to expect from Park. Decision to Leave stokes admiration for the inventiveness of a cross-fade, but fosters our profound apathy toward basics like the id of a murderer or the stirrings of the forbidden lovers.
If Decision to Leave is not fairly on the same stage as Park Chan-wook's masterpieces, this romantic thriller is still a exceptional achievement by some other metric. Tap "Sign me up" under to obtain our weekly publication with updates on movies, TV exhibits, Rotten Tomatoes podcast and more. Email AddressPasswordNameBy signing up, you agree to ourterms & conditionsandprivacy policy. Keep observe of the films and show you need to see + get Flicks e mail updates. Throughout, one often feels the plot machinations working against Park Chan-wook’s poetry, though in a few circumstances poetry wins out.
'Decision To Go Away' Review: Park Chan-wook Delivers A Thriller With A Rom-com Twist
Throughout, one typically feels the plot machinations working towards Park Chan-wook’s poetry, though in a quantity of cases poetry wins out. The solely misstep of the entire movie comes within the last minutes as Park oddly allows the ending to swing into melodramatic territory, which clangs in opposition to every thing that’s come before. Perhaps he saw it as the earned second to open the emotional valves, considering how properly he modulated such measured restraint all through. How it lands total with audiences goes to come down to personal style, but for me it was the one place where “less is more” came to thoughts.
He simply expresses these pursuits in one other way now, with delicate conversations in memorable locations, instead of with the blunt end of a hammer. He’s on the high of his recreation right here technically, employing exact modifying and audaciously inventive camerawork to pull us into his characters’ minds. However informed by Hitchcock, “Decision to Leave” is pure Park Chan-wook — his earlier films include the unique “Oldboy” and the erotic thriller “The Handmaiden” — via and through in kind, style and temperament. And while Hae-joon may be outwardly driving the story, it's Seo-rae — and Tang’s devastating efficiency — who imbues “Decision to Leave” with its deep, then deeper wells of feeling. From the very first destabilizing moments of this film, Park dazzles you with the great thing about his photographs and the intoxicating bravura of his unfettered creativeness. And then, just whenever you think you've discovered your bearings, he unmoors you yet once more, blowing minds and shattering hearts, yours included.
As Hae-Joon snaps pictures of the corpse with his cellphone, ants crawl over the lifeless man’s eyes, a flourish that embodies damaged imaginative and prescient while suggesting that the macabre jokester that helmed Oldboy hasn’t left the constructing. It seems odd that murder evidence can be gathered on a personal cellphone, because it appears to be a readymade way to compromise an investigation, and Park wants you to notice the strangeness of such particulars, which set up the fragility of our hero. Hae-Joon isn’t ferociously competent in the tradition of Law & Order cops, but distractible and ripe for manipulation in the mildew of J.J. Park Hae-il is riveting as a storied detective knocked again on his heels by love, while his overzealous protege serves as a buzzing comedian reduction. But Tang Wei dazzles as a woman who refuses to be pinned down by this lovestruck man or his want for black-and-white descriptors. When they speak, it's with an intimacy so profound that it looks like we're eavesdropping.
And there isn't a higher example of this expertise than South Korean filmmaker Park Chan-wook’s Decision to Leave. Hae-joon has a spouse that he solely sees on weekends, and before long Seo-rae becomes his companion the the rest of the week, in a relationship that morphs from surveillance to seduction and turns her from an individual of interest to an object of obsession. This is all laid out in a tour de drive of intricate filmmaking lengthy on temper and drama and slippery modifications of direction. Am a huge fan of Chan-wook’s movies, but obtained a sinking feeling half-way by way of, that we have been in a cluttered, inchoate territory, and the experience was becoming increasingly, considerably bafflingly, less-than-satisfying.
But, as along with his earlier THE HANDMAIDEN, Park reloads proper as the film seems to be winding down. It was not dangerous nevertheless it was not at the degree of park chan woak it solely had great acting and nice cinematography and great music but the plot was not good and it was not even a thriller movie the ending was good however not one of the best . Finally i want to recommend you to watch it as a outcome of it is from park chan woak however korean films in these later 2 years aren't good so it is the greatest amongst those. The good news is I think that you don't have to understand 100% of the plot to know the essence of the movie. The essence is that the movie is a mix of crime and romance, a detective falling in love with his suspect. Although "Decision to Leave" treads on acquainted terrain for Park, as a movie about love and obsession, I must say that I enjoyed it greater than some other film from him.
Tang Wei is initially equally riveting, and the cat and mouse sport playing provides a sense of intoxicating hazard for both of them. But as every damning clue about Seo-rae is revealed, there seems to be a rational rationalization from her perspective. When a piece of evidence reveals itself, the diminishing sense of ambiguity allows him to remove himself from his curiosity and once once more focus on his marriage. His professional self-exile to the a lot smaller Ipo proves to bring again his insomnia and eternal restlessness with a vengeance…until Seo-rae pops up once more.
However, it doesn’t mood how confident, memorable, and eloquent Decision to Leave is. And simply whenever you suppose the story has revealed itself, Chan-wook introduces a flip that reframes every thing we expect we know in regards to the characters and then places them on a model new path that carries the movie into sudden territory. The change only amps up the longing and star-crossed unpinning to Hae-joon and Seo-rae’s unconventional connection. Park Hae-il and Tang Wei conjure major In the Mood for Love energy that’s just as riveting and swoony.
And in comparison with the powerhouse first hour and crackerjack ending, the center section sometimes feels baggy. But it’s still an amazing shot of pure Park — suave, refined and sexy. Not to say very probably the best erotic cop thriller ever. An early interrogation scene embodies all that’s proper and incorrect with Decision to Leave. When Hae-Joon questions Seo-rae about her husband, Park, self-conscious that we’ve been watching variations of this sequence all our lives, devotes himself to each factor that doesn’t immediately matter to his story.
In the tip, the spectator is -- just like Hae-jun -- left incapable of having the final verdict on Seo-rae, this ephemeral character within the foggy panorama. For Hae-jun, the ache comes in the greatest way ideas of Seo-rae crowd into his mind unbidden, even while he is making love to his wife. And then there’s the rising suspicion that this mercurial, brilliant lady, who seems to have as keen an instinct for criminal psychology as he does, could be toying with him; that the accidental death of her husband may not be what it initially seemed. “Decision to Leave,” which gained Park a directing prize at Cannes and will symbolize South Korea within the Oscars’ worldwide characteristic race, is a movie of subtler, more luxuriant pleasures. Compared with that unfortunate octopus, the sushi here is both ethically sourced and exquisitely plated. And as the movie’s inextricably certain leads, Hae-joon (Park Hae-il) and Seo-rae , enjoy their meal in easy, companionable silence, you’d be forgiven for assuming they were lovers or spouses, quite than a homicide detective and his prime suspect.
Over the course of Decision to Leave Chan-wook constantly elevates what we’re watching, and the movie never becomes too much to deal with. So when a man’s physique is found at the base of a nearby mountain, Hae-joon is given the case. Which is how he meets the man’s lovely, enigmatic spouse Seo-rae , a Chinese-speaking eldercare worker whose apparent lack of concern at newfound widowhood piques Hae-joon’s curiosity. He will get to know her, and continues staking out her apartment at evening even after her alibi has satisfied him of her innocence, partly because it’s the one time the insomniac detective can get a great night’s sleep. Curiosity flares into a surprisingly respectful kind of obsession, in which every boundary of familiarity that is crossed is tacitly condoned and reciprocated.
Watching this you presumably can instantly see why he received Best Director at Cannes Film Festival. As South Korea’s entry into the Oscars, this may be a cinephile’s dream movie and will be talked about in movie courses everywhere. It’s Park’s first movie in six years, following a post-“Handmaid” detour to do the English-language TV miniseries “The Little Drummer Girl.” And it places him right back the place he left off, as a outstanding visual stylist who doesn’t always know when to cease but all the time is conscious of tips on how to impress. And on Monday, veteran Korean director Park Chan-wook premiered his new film, “Decision to Leave,” as a half of Cannes’ main competitors.
Determination To Leave (
It’s another story of an excellent cop falling for one of his suspects and making the type of mistakes that occur in thrillers when officers cease using logic. Of course, “Decision to Leave” does take a turn, although I wonder if will most likely be sharp enough for Park’s rabid followers. To this viewer, it develops into a fairly nifty piece of style work, a thriller that’s expertly made even if it doesn’t quite hum like the best Park films. The incontrovertible fact that an excellent, well-made thriller feels virtually like a disappointment given this creator’s pedigree is just a testament to the work he’s produced earlier than. When detective Hae-joon arrives on the scene, he begins to suspect the useless man's spouse Seo-rae.
As the very married Hae-jun seeks to get rid of the newly widowed Seo-rae as a homicide suspect, sly flirtation evolves right into a mutual recognition of kindred spirits, which blossoms right into a forbidden, if chaste, love affair. If The Handmaiden was Park’s riff on the English drawing-room melodrama, Decision to Leave suggests Alfred Hitchcock’s Vertigo as filtered through an anal-retentive tackle Law & Order. An avid climber, Ki Do-soo (Yoo Seung-mok), has tumbled to his demise from a mushroom cloud-shaped mountain and hotshot detective Hae-Joon (Park Hae-il) suspects murder. As the police examine the scene, Park mounts a formalist present that must be the envy of even that master of cinematic murder investigations, David Fincher.
In one of the film’s many evocative pictures, Park emphasizes flashlights piercing the darkness of woods as seen from a bird’s-eye view, suggesting that the urge to discern the truth is sinister and futile. Following the grisly demise of her husband, Seo-rae (Tang-Wei) fails to show the standard signs of grief, prompting crackerjack investigator Hae-joon (Park Hae-il) to think about her a suspect within the man’s murder. Over the course of a series of stakeouts and interrogations, Hae-joon is more and more drawn to his magnetic, mysterious target.
But it sticks the touchdown completely, with a resounding resolution that hammers home the emotional throughline of the story. This is a movie about two individuals deeply uncomfortable with their place within the modern world, who via each other have needed to grapple with both meanings to the act of leaving; what happens when we leave someone, and what of ourselves we go away behind. Hae-joon is drawn to Seo-rae because he notes she has a “classical” vibe, and she or he herself feedback on what sets him other than different trendy people. In a world that feels suffocating and passionless, one thing as old style as a detective-suspect affair has an plain enchantment. When a hiker falls from atop a mountain, fingers begin pointing to the corpse’s Chinese wife, Seo-rae .
At once a masterfully-crafted police procedural and an incisive meditation on the character of affection and identity, Decision to Leave is a tour-de-force of neo-noir filmmaking. Hitchcockian to its core, the film’s gleefully twisting plot retains audiences guessing as it spirals toward an epic conclusion. Winner of the Best Director prize at the Cannes Film Festival, veteran auteur Park Chan-wook expertly weaves together every intriguing thread as he spins this haunting tapestry of homicide, insanity, and deceit. The truth is that the primary half of this movie, despite its very robust craft, has a script that might have been a Bruce Willis erotic thriller in the Nineteen Nineties with barely a rewrite.
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Wrapped within the investigation of the unusual dying, Hae-joon’s interest in the girl quickly transcends the professional as he turns into enamored with the primary suspect. Focusing simply on character does a disservice to how much of a visual feast Decision to Leave is. From starting to finish, you’re reminded of the unparalleled dynamism that fills the director’s work; with impactful sound design, beautiful framing, and genius edits (just as it’s talked about how blowflies lay eggs on cadavers, we minimize to Hae-joon cracking an egg right into a pan). Decision to Leave is probably not as flashy or sumptuous as some of his other work, but in his first collaboration with cinematographer Kim Ji-yong, there’s plenty of sweeping tracking photographs, extreme pans and impossible perspectives (from a lifeless man’s eyes or under a morgue sheet) to pore over. Park Hae-il is terrific as lead character Hae-joon, an investigator whose face droops with weariness and paperwork-induced ennui.
There’s another thriller that’s thrust into Hae-jun’s life and it forces him to rethink each choice he made within the first case and what issues to him now. Park plays with elements of not just noir but the old school romance films that Seo-rae likes to observe. He basically units these characters up, defining them within the first half, after which bounces them off each other in unexpected ways within the second half, finally leading to a rewarding thriller even when it lacks the sharp edges we’ve come to expect from Park. Decision to Leave stokes admiration for the inventiveness of a cross-fade, but fosters our profound apathy toward basics like the id of a murderer or the stirrings of the forbidden lovers.
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If Decision to Leave is not fairly on the same stage as Park Chan-wook's masterpieces, this romantic thriller is still a exceptional achievement by some other metric. Tap "Sign me up" under to obtain our weekly publication with updates on movies, TV exhibits, Rotten Tomatoes podcast and more. Email AddressPasswordNameBy signing up, you agree to ourterms & conditionsandprivacy policy. Keep observe of the films and show you need to see + get Flicks e mail updates. Throughout, one often feels the plot machinations working against Park Chan-wook’s poetry, though in a few circumstances poetry wins out.
'Decision To Go Away' Review: Park Chan-wook Delivers A Thriller With A Rom-com Twist
Throughout, one typically feels the plot machinations working towards Park Chan-wook’s poetry, though in a quantity of cases poetry wins out. The solely misstep of the entire movie comes within the last minutes as Park oddly allows the ending to swing into melodramatic territory, which clangs in opposition to every thing that’s come before. Perhaps he saw it as the earned second to open the emotional valves, considering how properly he modulated such measured restraint all through. How it lands total with audiences goes to come down to personal style, but for me it was the one place where “less is more” came to thoughts.
He simply expresses these pursuits in one other way now, with delicate conversations in memorable locations, instead of with the blunt end of a hammer. He’s on the high of his recreation right here technically, employing exact modifying and audaciously inventive camerawork to pull us into his characters’ minds. However informed by Hitchcock, “Decision to Leave” is pure Park Chan-wook — his earlier films include the unique “Oldboy” and the erotic thriller “The Handmaiden” — via and through in kind, style and temperament. And while Hae-joon may be outwardly driving the story, it's Seo-rae — and Tang’s devastating efficiency — who imbues “Decision to Leave” with its deep, then deeper wells of feeling. From the very first destabilizing moments of this film, Park dazzles you with the great thing about his photographs and the intoxicating bravura of his unfettered creativeness. And then, just whenever you think you've discovered your bearings, he unmoors you yet once more, blowing minds and shattering hearts, yours included.
As Hae-Joon snaps pictures of the corpse with his cellphone, ants crawl over the lifeless man’s eyes, a flourish that embodies damaged imaginative and prescient while suggesting that the macabre jokester that helmed Oldboy hasn’t left the constructing. It seems odd that murder evidence can be gathered on a personal cellphone, because it appears to be a readymade way to compromise an investigation, and Park wants you to notice the strangeness of such particulars, which set up the fragility of our hero. Hae-Joon isn’t ferociously competent in the tradition of Law & Order cops, but distractible and ripe for manipulation in the mildew of J.J. Park Hae-il is riveting as a storied detective knocked again on his heels by love, while his overzealous protege serves as a buzzing comedian reduction. But Tang Wei dazzles as a woman who refuses to be pinned down by this lovestruck man or his want for black-and-white descriptors. When they speak, it's with an intimacy so profound that it looks like we're eavesdropping.
And there isn't a higher example of this expertise than South Korean filmmaker Park Chan-wook’s Decision to Leave. Hae-joon has a spouse that he solely sees on weekends, and before long Seo-rae becomes his companion the the rest of the week, in a relationship that morphs from surveillance to seduction and turns her from an individual of interest to an object of obsession. This is all laid out in a tour de drive of intricate filmmaking lengthy on temper and drama and slippery modifications of direction. Am a huge fan of Chan-wook’s movies, but obtained a sinking feeling half-way by way of, that we have been in a cluttered, inchoate territory, and the experience was becoming increasingly, considerably bafflingly, less-than-satisfying.
But, as along with his earlier THE HANDMAIDEN, Park reloads proper as the film seems to be winding down. It was not dangerous nevertheless it was not at the degree of park chan woak it solely had great acting and nice cinematography and great music but the plot was not good and it was not even a thriller movie the ending was good however not one of the best . Finally i want to recommend you to watch it as a outcome of it is from park chan woak however korean films in these later 2 years aren't good so it is the greatest amongst those. The good news is I think that you don't have to understand 100% of the plot to know the essence of the movie. The essence is that the movie is a mix of crime and romance, a detective falling in love with his suspect. Although "Decision to Leave" treads on acquainted terrain for Park, as a movie about love and obsession, I must say that I enjoyed it greater than some other film from him.
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Tang Wei is initially equally riveting, and the cat and mouse sport playing provides a sense of intoxicating hazard for both of them. But as every damning clue about Seo-rae is revealed, there seems to be a rational rationalization from her perspective. When a piece of evidence reveals itself, the diminishing sense of ambiguity allows him to remove himself from his curiosity and once once more focus on his marriage. His professional self-exile to the a lot smaller Ipo proves to bring again his insomnia and eternal restlessness with a vengeance…until Seo-rae pops up once more.
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However, it doesn’t mood how confident, memorable, and eloquent Decision to Leave is. And simply whenever you suppose the story has revealed itself, Chan-wook introduces a flip that reframes every thing we expect we know in regards to the characters and then places them on a model new path that carries the movie into sudden territory. The change only amps up the longing and star-crossed unpinning to Hae-joon and Seo-rae’s unconventional connection. Park Hae-il and Tang Wei conjure major In the Mood for Love energy that’s just as riveting and swoony.
Park Refines His Style With Determination To Leave
And in comparison with the powerhouse first hour and crackerjack ending, the center section sometimes feels baggy. But it’s still an amazing shot of pure Park — suave, refined and sexy. Not to say very probably the best erotic cop thriller ever. An early interrogation scene embodies all that’s proper and incorrect with Decision to Leave. When Hae-Joon questions Seo-rae about her husband, Park, self-conscious that we’ve been watching variations of this sequence all our lives, devotes himself to each factor that doesn’t immediately matter to his story.
In the tip, the spectator is -- just like Hae-jun -- left incapable of having the final verdict on Seo-rae, this ephemeral character within the foggy panorama. For Hae-jun, the ache comes in the greatest way ideas of Seo-rae crowd into his mind unbidden, even while he is making love to his wife. And then there’s the rising suspicion that this mercurial, brilliant lady, who seems to have as keen an instinct for criminal psychology as he does, could be toying with him; that the accidental death of her husband may not be what it initially seemed. “Decision to Leave,” which gained Park a directing prize at Cannes and will symbolize South Korea within the Oscars’ worldwide characteristic race, is a movie of subtler, more luxuriant pleasures. Compared with that unfortunate octopus, the sushi here is both ethically sourced and exquisitely plated. And as the movie’s inextricably certain leads, Hae-joon (Park Hae-il) and Seo-rae , enjoy their meal in easy, companionable silence, you’d be forgiven for assuming they were lovers or spouses, quite than a homicide detective and his prime suspect.
Over the course of Decision to Leave Chan-wook constantly elevates what we’re watching, and the movie never becomes too much to deal with. So when a man’s physique is found at the base of a nearby mountain, Hae-joon is given the case. Which is how he meets the man’s lovely, enigmatic spouse Seo-rae , a Chinese-speaking eldercare worker whose apparent lack of concern at newfound widowhood piques Hae-joon’s curiosity. He will get to know her, and continues staking out her apartment at evening even after her alibi has satisfied him of her innocence, partly because it’s the one time the insomniac detective can get a great night’s sleep. Curiosity flares into a surprisingly respectful kind of obsession, in which every boundary of familiarity that is crossed is tacitly condoned and reciprocated.
