Prelude:
She speaks. She would always sit in a stuffy studio reading out loud to exaggerate the size of a B-cup bra to a C-cup elaborating the unbelievable effects of the products televised on home-shopping channels. Her voice narration varies from heartwarming tales of an old couple to a uncharacteristic in-house corporate news of a leading conglomerate.

She begins to be interviewed by a film director.
The interview starts with her hopes and dreams, her...more

Prelude:
She speaks. She would always sit in a stuffy studio reading out loud to exaggerate the size of a B-cup bra to a C-cup elaborating the unbelievable effects of the products televised on home-shopping channels. Her voice narration varies from heartwarming tales of an old couple to a uncharacteristic in-house corporate news of a leading conglomerate.

She begins to be interviewed by a film director.
The interview starts with her hopes and dreams, her forecast of life through acting experience and of her insomniac depression, not to mention her disappointing relationships in the past. She describes of her recording experience as if it’s like inhaled helium gas where her breath is escalated until she is lost somewhere wandering in an alley. There, she meets silence... Some unknown liveliness enters her soul and she vibrates into a different life, a vibrant feast.

Synopsis:
We meet a woman whose voice is muted while she spits out some indiscreet foul cursing in the street. In people’s conventional eyes, she is easily categorized as ‘crazy’ without hesitation.

We meet another woman. She is well known as a TV or Radio dubbing artist, a voice actress called Sanghyun Kim. Her deep rich voice reminds us of a dark cloud that looms over the sky before a heavy rain. She sits in front of a microphone in a recording studio. Her job as a voice actress is to read over the script as directed by a producer who sits facing her behind a glass window.
She gets a call from a film director and is asked to audition for a film.
The scenario is a film version of the play written by German playwright, Bertolt Brecht, ‘The Good Woman of Setzuan’. Her role plays two different women starring in the play, Shui Ta and Shen Te.

The same persona talk of her life at present and past. The director who interviews her is amused to find they had the same interest in the same play. He finds common interest in her stage experience and is instantly mesmerized by her.
The stage play crosses over the film in and out between reality and fiction. Her monologue is inserted over the stage play ‘The Good Woman of Setzuan’ and sets a drowning tone throughout the film. One could wonder whether it’s a play we’re watching or the actuality of the real world we’re facing. The drowning overtone of the film is constantly reversed back to an endless movie like manner.

This film attempts to explore the emotions of womanhood through body, ego, sub-consciousness, and solitude. All of which is consisted in womanhood, the surplus emotions women face through seduction and pain. In the film, the persona of ‘I’ is found to be subdued inside. An inception of oneself to discover a different ego resting in the same body frame. Within the same frame, we conflict with another restless inner-being only to be released through another ego. As depicted in the film title, we find our inner-being to burn, release, explode resulting to become the final invincible being.

When she finds herself to be the invincible being, she dances over a bridge near U.S. Army Base in Seoul, South Korea. The place where unexplainable and confused energy of the city is temporarily settled.
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