Quentin Dupieux’s extraordinary seems boundless. How would you react to a magical tunnel in the basement of your new house? The low-key setting of this film suggests that it will be a gloomy comedy—highly unusual for Dupieux. Added to this is a dreamy atmosphere created by Jon Santo’s arrangement of J. S.Bach on synthesizer that differs from Wendy Carlos’s more well known recordings. This film is about vain desires and the paradox of time, told through the secrets of the house and the boss. However, Dupieux always hides the meaning of art in his films—for instance, if you spend time watching a film that turns out to be terrible, does that mean that time you spent watching the film has been lost? Conversely, should good art come first in order for your time watching the film to be rewarded? Incredible but True provides an interesting imagination about the creatoraudience relationship. The absolutely wonderful editing delivers both the original rhythm and thematic charm. (LEE Yong Cheol)