This movie has been overrated. There have been hundreds of Hong Sangsoo imitators in South Korea's indie movie scene and this movie just grabbed the spotlight because the director was a woman who had been Hong's longtime producer. I know, that's what she had learned. However, we don't expect to watch some artist's opposite-sex double when we see a new director's debut film. Actually, South Korea's independent filmmaking industry is driving itself into a pipeline system that limits itself as a pool to supply personpower, ideas, and trends, lacking experimental and challenging spirit it used to have. This movie shows just another example of a so-so low-budget self-claimed indie film that just reproduces old conventions of already successful arthouse directors.

This was quite an offbeat movie with a strong "indie" vibe. It is, among other things, about filmmakers and movies and movie-making, and includes, among other things I never would have expected, a vigorous defense of the movies of Yasujiro Ozu (of Japan).

The title character was quite happy working as a kind of factotum or all-around manager for a well-regarded movie director, but suddenly found herself out of work and needing to make drastic adjustments. These led to further adjustments, and...to several humorous interludes and dramatic waves and introspective moments. There were also quite a few notes on Korean culture that were new to me.

If you like quirky, offbeat movies with comedic elements, that may resort to fantasy or metaphor or even less serious means of making points, and that don't necessarily have a conventional ending, you may very well enjoy your time here with Chan-Sil.