With violence and humor, sex and gamling, seriousness and parody, this film is a text of confusion and violation. The audience is constantly caught by surprise, leaving no room for self-reflection. The two things that the incompetent saxophone player Ahn fusses over is his daughter and playing his sax. The foulmouthed Moon has nothing to fear in life. He dreams of becoming a comedian to earn more money. Maria gives up her child born of incestual violence, abandons her dream of becoming a nun, and tricks Ahn and Min into finding her child. The three meet with unexpected events full of bloodshed and revenge, but this enables Ahn to find his daughter and return to Seoul. Meanwhile Moon and Maria are separated while attempting to escape police pursuit. Moon manages to escape but is surrounded by the shadow of death. Ahn mistakenly thinks his daughter is killed and eventually commits suicide. The events within this predictable tragedy fails to establish the film as social critique. However, the consideration for the meaning of family remains a valuable theme within this tale of transgression. The fast tempo of the first half and the lyrical rhythm of second construct a strange cacophony which subverts all preconceptions with wit rather than perfection. (Lee Yong-Kwan)