The film ls about a `flow`; it never dwells in any conventional cinematic form or in completed structure. To create the `flow`, Weerasethakul focuses on the dialogues from daily lives. Those dialogues, however, lead us nowhere in the story; we are just allowed to listen to them. Conventional shot/reversed shot editing is rejected, and images are deliberay separated from sound. On the surface, the film seems to talk about love, but it never ls a love story; it only acts like a vehicle to deliver emotional flow. Dialogues between Toa, who has a crush on a female doctor, Tei, and Noom, whom Tei has a crush on, as well as those between a dentist, Ple, and a monk, Sakda, never run forward to the narrative`s end, nor cause any dramatic tension. This sense of `flow` also comes from the camera`s slow movement. Space captured by the camera becomes a subject of creating flow rather than a simple background, just as the characters do in the film. The film gives us an unusual cinematic experience by inviting us to this flow. (Kim Ji-seok)