After two love stories, Koberidze depicts a father wandering in search of traces of his daughter. Accompanying the father on this path is (quite literally) an invisible presence, and even the rural people who answer his questions often remain out of sight. Although it feels like a ghostly road movie, the one who moves forward along a line eventually traces a large circle and returns to where he started. As the scenery shifts from city to countryside, trees, grass, and animals appear more frequently, and you might be surprised at the low-resolution images shot on a mobile phone, reminiscent of his debut. The digital fragments are like the brushstrokes in a painter′s hand, and with its unique light and tempo, Dry Leaf deserves to be called an ‘impressionist film.’ The way the film lingers over its subjects and its humor reminds us of the great Georgian predecessor Otar Iosseliani. Koberidze has proven twice that a film with a runtime of over three hours can become a poem. (LEE Yong Cheol)