One common trait in Yu Hyun-Mok′s cinema is his refusal to incorporate the Hollywood-style convention of a single hero. Such a notion is evident in An Aimless Bullet, Daughters of the Pharmacist Kim, and in this film. Yu has strong preference for the ′group′ over the ′individual, the ′universal′ over the ′special,′ ′objectivity′ in place of ′subjectivity,′ etc. Yet the nature of his directing style is that of being subjective, psychological, expressive and technical. The ideology passing through this film is an existential consciousness, questioning the extreme situations faced by mankind and the place of destiny within its ideology. Exterior-wise, Guests Who Came by the Last Train depicts the love between Dong-Min and Bo-Young. Still, it also features pop artist Choong-Hyun, his snobby wife, and In-Sook who acts as her younger substitute, all of whom are agonizing souls thrown into this hopeless world (as if they were locked in the depths of a coal pit.) People with terminal disease, orphans, failed marriages, people in mental desolation, in poverty... these various troubles lead to their wandering through this futile world, as the title ′Last Train′ from the original story by Hong Sung-Won suggests. (Jung Jae-Hyung)