Based on the novel written by Park Kyung-Ri, this film presents various images of people who fall into the complicated web of love and marriage. As the title suggests, the film opens with the conventional expectation of conflict between the concept of the saint(holy mother) and the witch. Soo-Hyung follows his father’s wishes and marries Hwah-Ran after breaking up with his lover, Hyung-Sook. For Soo-Hyung, Hwah-Ran, the submissive wife is the saint while Hyung-Sook, who appears whenever he has trouble adapting to his role as a husband, is the witch. Following the idea of monogamy, the obedient wife becomes the saint, the prime source of virtue in the modern family, while the modern and individualistic Hyung-Sook is relegated to the role of the wicked witch. Ironically, the pre-modern establishes itself as the basis for the modern family. However, the unstable features of this modern family cannot be sustained as female desire for autonomy grows. A new love appears for Hwah-Ran who could never receive true love from her husband, and Soo-Hyung finds herself unable to escape from her memories of Hyung-Sook, the ‘witch,’ refuses to submit to male ownership and suggests positive prospects for a true love based upon mutuality. Meanwhile, the ‘saint’, Hwah-Ran, abandons her position of security to find true love. In the end, the figures of the witch and the saint become interchangeable. (Nam In-Young)