While maintaining a certain distance, this film meticulously captures a person¡¯s internal state of mind. This film follows the lives of twin sisters, who were abducted and abused as young girls in their hometown of Azerbaijan, living in a high-rise condominium in a small Swedish city of Malmö. As if there were no backgrounds, the frame is filled with the sisters¡¯ facial expressions, gestures, conversations, and silence. The director however, focuses only on their secret inner exchanges. In the midst of observation, the director recognizes magical moments of emotional supplements. The camera indifferently records the sisters¡¯ daily lives, expressions, conversations, separation and reunion for a substantial amount of time. Keeping tension or conflict to a minimum, the film obsesses with the downtime that occurs in between events. As if a firefly would produce light and disappear, the unique layers of emotions in the film not only maintain banality, but preserve the gloominess of Rosengård. Can this film be considered as a portrait of baroque and erotology that only depicts the instincts and senses of twin sisters Julia and Johanna? (JEON Sung-kwon)