A Police inspector, Jang Hae-joon (Park Hae-il) investigates the death of a 60 year old mountain climber
where his much younger chinese wife Song Seo-rae (Tang Wei) is the main suspect. The victim an
experienced climber fell to his death and the question is "was he murdered" and if so, by whom ?

Inspector Jang lives with his attractive wife Jeong Ahn (Lee Jung-hyon) in the city of Mist, Ipo, and he
transferred there to be close to his wife. But, when he meets Song Seo-rae he immediately falls for the
somewhat attractive and alluringly mysterious chinese woman. Maybe she's innocent, and they start a
relationship. A sexual one ? I don't know, because there were no sexual tension, no chemistry between
them at all. All actors were lifeless and uninteresting, with only Tang Wei perhaps showcasing some
charisma (OK, i liked the energetic boy-looking female police assistant in the second part).

Well anyway, then also Song Seo-rae's new husband Im Ho-sin are killed, killed too, with a lot of knife
stabbings, and this time she's even more suspected than with her first husbands death.
The film were about 2 hours and 20 minutes long and should've been shortened with at least 50 minutes.
Somehow Park was awarded Best Director prize at the Cannes Film Festival. That, a mystery too.

Another South Korean Crime drama mystery, Master Lee Chang-dong's 2018 Burning (Beoning) was
a much better film i think. But, please don't be angry at me if you like the boring "Decision to Leave"
as i really, really love Park Chan-wook and especially then his more obscure one's as the 2011 "Night
Fishing" (Paramanjang), the 2003 short the beautiful NEPAL (Never Ending Peace and Love) from
the "If You Were Me" (6 short films) collection, the 2006 "I'm a Cyborg But That's OK (Ssaibogeu
jiman goenchanha) and the 2002 "Sympathy for Mr. Vengeance".

The European assholes at the Cannes Film Festival has already fucked up the moviemaking of another
of my personal favourites, Kiyoshi Kurosawa, and now Park Chan-wook is lost too. Please, please
return to your Japanese and South Korean ways of filmmaking without any considerations to what
the European and US asshole audiences and film critics may want or not want