Drinking with friends, writing instructions on operating the photo machine for his father and making his last portraits - all are last acts for the terminally ill photographer Jung-Won. In the midst of closing the last chapter of his life, he befriends the meter maid. Unaware that Jung-Won is sick, Da-Rim is transferred to a new area of her life. Summer passes and winter comes. When Da-Rim finally visits the photo shop again, she is delighted to find a black and white photo of herself displayed in the window, which she discovers is a present for her left by Jung-Won. The film′s objective treatment of death refuses to make a dramatic conclusion and enables us to bear the weight of mortality. Jung-Won leaves this world delightedly with the fresh memory of Da-Rim who is innocent of the knowledge of his death. In this sense, the photo displayed in the window stands as an existential image. The director′s presentation of death in warm tones may be ironic as the idea of a warm death does not exist. The film strays from the seriousness of death by depicting the various details that surround the daily life of Jung-Won, but at the same time successfully shows how the meaning of life reveals itself through memory and time. like a labyrinth, the film explores the implications of memory and oblivion. (Lee Sang-Yong)