Chul-Yi and Soon-Yi are two kids without friend or family. Chul-Yi is a physical laborer at a local market who falls in love at first sight with Soon-Yi, a nurse who‘s also secretly in love with him. As Chul-Yi is passing by an alley, Soon-Yi‘s laundry falls on him, an incident that ends with the two living together. Unfortunately, death soon appears in their happy life on their small rooftop cot. Pomildong, in Pusan, is an old residential district. The film centers on two characters, Chul-Yi and Soon-Yi, while unfolding its storyline in an attempt to elucidate life in Pomildong. Eventually, the characters disappear and only Pomildong remains in the end. Pomildong Blues is made up of a seemingly simple storyline overall. What brings sincere interest to this film is the director‘s attachment to the character‘s living environment. For decades, since the Japanese occupation and through the Korean War, Pomildong has been a neighborhood of common people, with the signs and remains of old markets, movie theatres, old refugee centers and re-developmental areas still present. The director intends to record the traces of this small part of Pusan on our history. What remains on the screen, once the drama of love and violence quietly exit, is the image of Pomildong. It is also important to note the relationship between the storyline, film expression and regional derivation. What seemed to be an old-fashioned story actually opens up possibilities for various means of expression, resulting in anticipated appearances of musical, fantasy, action-adventure and comedic genres all mixed in one. (Han Sang-Jin)