One day, crude oil begins to leak out of a middle-aged woman's body, her house shakes for no reason, and in the ceiling a hole opens up as if were cut with a knife. As a documentary show playing on the TV set in the early part of the film suggests, the hole in her apartment seems to refer to the works of Gordon MATTA-CLARK. In his re-construction, or rather de-construction, on soon-to-be-demolished structures the buildings are sliced in horizontal or vertical ways or via geometric elements whereby parts of buildings are carved out. In doing so, the audiences are invited to take a moment to ponder the cultural/societal structures and norms in which the distinction between inside and outside of the structure is sustained (or demolished). In this regard, his work functions as a performance and experience of ‘unbuilding’ or ‘anarchy-tecture.’ This film also seems to guide its audiences to gain a similar insight. While a dimension of the film is filled with the history of sanctions imposed by the West against Iran since the late 1970s, another dimension is concerned with the female body and subjectivity as a subject of labor, as well as a means of production through the metaphor of crude oil leaking out of the body. The storyline may not be so important for this film, as audiences can learn what will happen to the woman already by the middle of the film due to the nonlinear storytelling. Instead, the film invites us to breath in the mood or emotional landscapes drawn from this mystical film during the run time. [HWANG Miyojo]