Sex—representing both a desire for human affection and an out-of-control id—drives the plot of this 1975 drama, as well as many other films by Korean director Kim Ki-young. A young woman, imprisoned for killing a man who attacked her, is traveling with her parole officer when she meets an attractive younger man on a train. The officer allows them to marry in a bizarre scene—they wed each other alone at the grave of the woman’s mother—and then lets them consummate their marriage in an empty train car, where their rapid movements seem an exaggerated version of the film’s jittery rhythms. The woman?s prior abuse can be seen as a metaphor for a society that has suddenly become rootless—a rootlessness closely connected to the disconnected desire that drives much of the action.