Her love: Choon-Hee is a wedding videographer who has a crush on In-Gong, a tidy aide she often runs into at weddings.
His love: Chul-Su is on leave from military service trying desperately to stop his ex-girlfriend from marrying someone else.
Their love: By chance, these two opposites share a house and the plot thickens. This formula is often found in screwball comedies but here, it? not as explicit as in Hollywood comedies. The couple′ chattering, josteling quarrels give birth to a subtle affection; as they begin writing a script together, the two satisfy their unfulfilled loves in reality.
One aspect of the film? appeal is its ′picture within a picture′ style, which is used to present the intricate loves of four individuals. The love story between In-Gong and Da-Hye is not only a tale within the script, but also idealized images of Chul-Su and Choon-Hee. The manner in which these characters overlap creates a sometimes frank, sometimes farcical picture-frame of the heart. In fact, the words within the frame are expressions of love and the frame becomes a trap, ensnaring the hearts of the viewers.
This film is the result of fine craftsmanship by Lee Jung-Hyang, a rare woman director who also wrote this wonderful screenplay. Art Museum by the Zoo has captivated the masses with brilliant storytelling.