A young single mom, Emilia, invites Sophia- the upper-class student who drove her daughter to suicide- to her place.

This film is not supposed to show some kind of healing, nor any dramatic scenes of forgiveness. It shows the cycle of hurt and consolation that we experience in our daily lives. Therefore, I would ask of the audience to be perfect observers, so that they can see how Emilia's regular, mundane life disguises a 'tragedy', and consider the chances of recovering an 'ordinary life'. At this point, I believe that hand-held long-take shots- consisting of the collision between fiction and non-fiction- efficiently underline the importance of the process, instead of hurriedly revealing the consequences of past actions.—Ungyu Yeo