The Slice Room, a record of three households living in the town of Jjokbang (a tiny, coffin-like room) located in Yongsan-gu, Seoul for a year shows the contradiction within the National Basic Living Security Act which cannot cover the absolute poverty which exist in the contemporary Korean society and the various forms of absolute poverty. Chang-hyeon, who suffers a grave state of bipolar disorder and cannot take up any types of ordinary employment, has to do illegal part-time jobs continuously because of the extremely deficient subsidy. The couple of Il-su and Seuing-hui who met through the service of activity assistant for the disabled decides to make their longtime wish come true, or to get married even though their subsidies would decrease if they become a legit husband and wife. Nam-seon who has not contacted his parent for 40 years cannot take any subsidy because of the Family Support Obligation Rules. These common and stereotyped images of absolute poverty finally proves and exerts its power when the record reaches 1 year of its practice duration and the typicality is proved to be strengthened and fixated without any fissures. In other hand, what is the most impressive in this film is the narration of the director which enunciates one character by one character with cautious pronunciation. There is no sign of empathy or incitement toward these people, or alert or repression over them either in the tone of director’s narration, considering that the director stayed in Jjokbang for months, witnessed and recorded lonely deaths of these people and poverty-stricken lives of them during the time. This film is like a brief report—but in full detail―of a sincere person to his master who he or she trusts and follows. I look forward to seeing how the director’s posed and calm voice—which enabled the completion of this record―would continue or change its tone in the next film. [Kwon Eun-hye]