Aoey seeks the Pak Nam Po River - believed to reach heaven - in order to send her mother, who recently passed away, to the afterworld. Early in the morning, she boards a boat with her father, other family members, and an old friend who is now a monk. This fictional story is juxtaposed with documentary footage of the mourning of the filmmaker’s own mother who passed away in 2017 and of her father working alone at a rubber factory. The fictional story blends into the filmmaker’s own life, while the documentary dialogue oddly adds realism to the dramatic story. These documentary images stand as proof that the filmmaker’s mother existed here, but also evoke a sensibility that suggests she no longer exists. The death of a loved one strongly recalls memories and events of the past, while fragmented stories, emotions and memories are restructured and rewritten. This film as an extremely personal work that contemplates life through a person’s death, and poses the common questions that surround memory. It stands out in its formal aesthetics that combine drama and documentary. (Hong Soin)