What stands out in Seung-a is the group of men who surround the eponymous main character. (Of course, women also appear in the film) Seung-a hides her troubles and complains in a baby-like way to the man she’s living with, Won-kyu. Fed up with this, Won-kyu angrily tells her to stop going through those troubles by herself. Seung-a, on the other hand, is hesitant to confide. Even while meeting with her child’s father and ex-lover, she isn’t able to brush him away and ends up embracing him. Her various relationships with different men form a frame that reveals the many facets of Seung-a, or women in general. Her father is also one of these men. The film’s most dramatic incident is when Seung-a wanders farther and farther away from her child during a telephone conversation with her father. Having realized that she has left the child in the carriage, Seung-a hurriedly turns back. Her expression at this point - hurried, bewildered, and agitated - is the very face of her complicated life. Close-up and medium shots of Seung-a’s face appear frequently in the film. Her facial expressions - in pain and fatigue - form the rhythm which drives the film to flow on. Take a look at the last shot of Seung-a’s face on the day she is to move out. Having seen off the truck loaded with her things, Seung-a looks back while coming out of the alleyway. Her expression is an allusion of an uncertain future, holding a seemingly endless chain of relationships in which she would have to entangle herself, the uncertainty of her existence being the link between her past and future.
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