The expression that ′there is nothing new under heaven′ might be a perfect fit for melodramas. Johnnie To′s Turn Left, Turn Right also tells a similar story, like other melodramas, but nevertheless impresses us with its unique narrative format. Even though they live in the same apartment block, John, a violinist, and Eve, a translator, have never bumped into each other. They habitually take their own routes when they pass the main gate. One day, they meet by chance in a park. They fall in love at first sight and exchange telephone numbers, however, they cannot call each other because each of their gets wet to the point of illegibility. And like a typical formula melodrama, they keep missing each other as they pass by. Setting up the situation that they live on the opposite sides of the same wall, Johnnie To tantalizes the audience by showing the two characters missing each other within one frame. Of course, the audience knows that the two will meet each other sometime but they want to know ′how′ they will meet. A somewhat odd and unique last scene of them finally meeting shows that even melodrama has to contain a kemel of reality, even when it has to live up to its genre formula.