Young-nam is a police officer who is sent to work in a remote seaside village. There, she meets and takes in Dohee, a girl who lives with her abusive grandmother and father. Although Young-nam is a loner who drinks alone in the dark and goes jogging along the beach at times, she begins to intervene in Dohee's life. In turn, Dohee follows Young-nam around, thankful that Young-nam calls her by her name and shows interest in her. When Dohee finally moves in with Young-nam, she starts intervening in Youngnam’s life as well. This film is based on Korean realism, yet it also combines into the narrative genre rules found in melodramas, thrillers, queer films and others, adding to the audience’s cinematic experience. First of all, Youngnam is the typical tragic hero in queer films, as long as Yong-ha, who oppresses and abuses the weak, including the lesbian Young-nam, migrant workers and youths in the village, is accepted as an "indispensable" character. On the other hand, Dohee is an atypical character. Dohee appears to be a typical victim of violence, but in the end, the audience discovers that she has a monstrous energy reminiscent of noire film femme fatales that overwhelms even the violence she is subject to. This film reaches its climax when Young-nam and Dohee, each tied to different genre rules, clash to bring about a series of events. In the end, Young-nam and Dohee flee the village for a place where Yong-ha cannot get to them, but that does not mean that the two are freed from genre rules. They will be subject to the rules of yet another genre. [PARK Jin-hee]