Damn, Park Chan-wook sure has plenty of tricks left up his sleeve for keeping audiences on their toes, and so he does with his recent take - to the point of deconstruction - on classic film noir and romance tropes, enacted in an inventive style very much of his own. Most of the film is propelled forward at an unrelenting pace into a feverish spiral of disorienting edits and a blurring of time and space somewhat reminiscent of the reality-bending films of Satoshi Kon or Charlie Kaufman, constantly creating a state of uncertainty in the viewer about what they've just witnessed. Appropriately for a film of this nature, it concludes leaving you with more questions than answers.