Perhaps we could describe this film as a modern-day silent film aspiring to be free of language and the confines of speech. This highly experimental film by one of the most acclaimed new directors from Hungary suggests--using montages of sound and image--that filmmaking is essentially an art of editing and close-up. In this way, the film confirms that one of the defining characters of filming is its making the world seem unknown and mysterious. Thus, the film embodies Eisenstein’s aesthetic of Montage. And because of this, it must be deemed futile to try to follow the story line in this nonverbal film; although there are ‘incidents,’ they by themselves have no meaning at all. Rather, one should focus on understanding the meanings behind the usage of extreme close up and long shot. In other words, we suggest you concentrate on such ‘pro-natural’ imageries as the sound of an old man’s hiccup and other sounds emitting from nature. Be especially mindful of the sound montage of the ending credits, which symbolize the director’s intentions. It is, for a lack of a better word, incredible. The audience too will find him/herself swaying to the rhythm of the film. (Jeon chan-il)