Here is an actor, one who has been asked to dwell in the perilous gap between text and image. In the voids where traces of the past have been erased by an unknown error, she begins to assemble her own script.

Living with chronic constipation and abdominal pain, Gwija heads to the hospital with her niece Yuri, who has just returned from Canada. As one uncomfortable situation after another unfolds along the way, Gwija’s backside begins to swell beyond control.

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Yun Suknam, born in 1939, supported her widowed mother and siblings from a young age. By the time she turned 40, she felt suffocated by societal roles and chose to pursue painting, spending all her money on supplies and refusing to quit. As a first-generation feminist artist, she continues to paint in her eighties, proving that art is about perseverance, resilience, and an unbreakable will.

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수연은 언니를 괴롭힌 가해자의 동생이 친구 이정이라는 것을 알게 된다. 이정은 수연과 다시 가까워지려 노력하지만, 서툰 마음들은 둘의 사이를 더욱 멀어지게 만든다. 영화는 제목처럼 아직 덜 익어 떫고 씁쓸한 십 대들의 감정을 섬세하게 포착한다. 용서와 미움 사이에서 방황하는 두 소녀의 복잡한 관계와 내면을 밀도 있게 그려내며 묵직한 여운을 남기는 작품이다.

贤英（Hyun - young）骑着她那辆破自行车搬到了首尔一个廉价又破旧的社区。她向邻居打听哪里有自行车店。到了自行车店后，她见到了自行车修理工民宇（Min - woo）。