After years of boredom and neglect, Mi-Ji, the young wife of a middle-aged workaholic doctor, resumes her career as an artist which had ended with marriage. Art revives Mi-Ji, stirring longings in her for romance and freedom, which in turn, stirs conflict in her marriage. The couple separates, and Mi-Ji runs back into the arms of an old flame.
 On the day of her solo art exhibition opening, a question thrown in her direction, “Is a doctor’s wife lonelier than an artist’s husband?” juxtaposes the themes of the film with those of Ibsen’s play, The Dolls House, which showed the state of a woman unable to balance home and work. In both cases, the security offered by domesticity forces the woman to refrain from expressing her desires. There is no place for Mi-Ji who forgets her curfew as she dances to the beat of “Born to be Wild” – only a wall awaiting her paintings of un-sublimated desires. However, the film provides interesting situations that balance out this conventionalism as in the last scene in which Mi-Ji fantasizes her death after returning to her husband as a gesture of gratitude for saving her lover. (Nam In-Young)