Like the previous film, the main component in this movie is also 'a visual association of images.'The slight difference is that if the former film showed completely different images through a visual association of form, then this film is an association of similar images in completely different locations. For example, a shot of about four people rowing then changes to a shot of people hoeing in a field which shifts to people of various religions all over the world praying then transforming to a scene of dance by people dressed in colorful folk garb and then to a broad range of folk customs in third world countries that might be considered less developed (or less tainted). The sequential scenes jump all over the place. Another difference in terms of structure this film has from the former are the abstract images constructed through multiple exposures and out-of-focus shots. If the first film portrayed materialistic civilization (even up to the world of the microchip) through abstract images brought about through slow shutter speed in the last part, then the second film illustrates the superimposing of time through multiple exposures, which in terms of literary impression is the alienation of man. Furthermore, the rhythm of color, brought upon by out-of-focus shots and the like in the end, comes alive wonderfully just like in the beginning the rhythm of the dance movements are elevated to a rhythm of color evocative of the ballet dancer paintings of Edgar Degas. We will not go into the invasion of Western civilization (which everyone can comprehend) or the alienation brought upon by development or the 'National Geographic-like 'perspective of seeing the third world through third world eyes. It would take away from the pleasure of watching this film. (Donghyun Park)