When filmmaker Young-soo introduces his wealthy gallery owner friend Jae-hoon to another friend, the female television writer Soo-jung, the table is set for one of the complicated triangular relationships that fascinate Hong, a preference which at times has garnered him comparisons to Éric Rohmer. Documenting the resulting emotional tug-of-war with his usual light touch and acuity, Hong’s third film launched Lee Eun-ju as a star in South Korea, and is perhaps the finest cinematic memorial to the actress, who took her own life at age 24.
