In the opening, the camera stares intently at an ear. This curved bodily organ, with its inner and outer structures, resembles a cave the closer you look. The woman is sensitive to listening. When her lover pleads to overcome their relationship rut, she mercilessly ends it: “It’s too late. I’ve heard too many words.” The relationship ends decisively, and soon a new love appears before her. The new partner is known only by the name Ben—his age, residence, and occupation all unclear. From the start, he has no tangible form, making his very existence uncertain. Two voices into an echo pushes its extreme premise to the limit, persistently asking whether love and trust can endure without any visual proof. As the audience themselves are put to the test, the woman’s blind love ultimately brings forth life—and even transfers to another person. Two voices into an echo rewrites the myth of love. (CHA Hanbi)