Guido lives in a shabby studio located on the hillside of a poor neighborhood. The studio might be a humble den but like many starving filmmakers, it is a place where his passion and desires for film gives birth. However, his dreams are threatened by a market which requires ′selling lies for daily bread.′ After his previous film flops miserably in the theaters, he seeks a producer for his new project, A Killer Story. His new film is about a motel employee who falls in love with a regular female guest while secretly videotaping love affairs going on in the motel rooms. The producer he meets shows interest in the film, and porn actress Marie volunteers to be the main character. Unfortunately, Guido′s dreams to portray a beautiful love story gradually fade with the producer′s attempt to insert explicit scenes, and Marie′s preposterous illusions of becoming a movie star. His disillusionment is suggested through erratic images. Caught between a romanticism and images of obscenity and violance, Guido′s world of film falls apart. A self-portrait of the director himself, this film refers to Fellini′s 8 1/2 as hinted in the main character′s name. Instead of supporting the creativity of the auteur, the director depicts the vulgarity of film production in Korea with cynicism. (Lim Kyung-Hun)