Because of Eowoodong the men in the neighborhood can’t sleep at night! Eowoodong escapes before she can be arrested for causing havoc. She escapes to a village where she falls and loses her memory. A bachelor in town finds her and nurses her back to health. He tells Eowoodong to stay with him until she regains her memory. But in a small village, word of Eowoodong’s beauty spreads quickly and it scintillates the instincts of the men in town.
Based on the eponymous manga for girls by cartoonist Kiriko Nananan, the pic follows the ups and downs of four female friends in Tokyo looking for love and trying to cope with the responsibilities in their lives. The main characters, impeccably played by four powerful actresses, are modern, self-sufficient women and their stories are told with mild irony and a dash of melancholy. The result is a movie that is lighthearted at times, a little sad at others, crazy and sometimes serious, but always special, that investigates the psychology of its characters and offers an accurate depiction of urban Japan, thanks to its director’s know-how. While many overly ambitious directors struggle to tell even one fairly comprehensible story, Yazaki skillfully weaves a powerful depiction of not one, but four women, creating an indissoluble and moving whole that doesn’t succumb to sentimentalism.
Choi (Kang Hye-Jung) begins work as a student-teacher at a high school. During her first day on the job, English teacher Lee Yoo-Rim (Park Hae-Il) hits on her in a very brash manner. Choi then using his position as a superior and any other method he can think of tries to get Choi to go out with him and eventually he succeeds. The problem is that they are both in long lasting relationships. Choi is actually engaged to a doctor, while Lee Yoo-Rim dated the same woman for the past six years. While Lee Yoo-Rim seems to be content with having their relationship continue as an affair, Choi worries about having sex without “love.” Eventually the administration at their place of work finds out about their relationship and they must now hide or reveal their relationship. The result is an an unexpected reversal of roles between them as co-workers, as well as a reversal of dynamics in their personal relationship.
Twenty-year-old Soon-jae has a young mother named Ji-yoon that’s like a sister to him. Right next door live a mother and son the same age as them; Ji-yoon’s friend Yeong-joo and her twenty-year-old son Jae-yeong. The sons fall for each others’ mothers.