<Myeoneuri: My Son's Crazy Wife> poses questions about the deep-rooted “conflicts between mother-in-law and daughter-in-law” in the Korean society by the story of the director’s mother and wife. Or, this film is an 'Emile documentary packed with the agony of the director himself,' according to the director. Eventually, the director is in the state of double hardships in the film. One is the existential pain coming from the double position of being both a son and a husband, and another is the aesthetic pain coming from the double status of being both the director and a protagonist. The director tries breaking through (or, tries suturing) this double hardship through dysphemistic (or self-torturing) gestures and rhetorics. The biggest problem of this attempt is that (just like the advice given from the father in the film) although it may be wise in real life to maintain a double attitude to one’s mother and wife, that attitude is not enough to address the intense question of fettering conflicts between mother-in-laws and daughters. In the core of this mysterious conflict which occurs between two nice individuals, lies the patriarchal system. The distance needed to ask questions about the system should not be neutral, but biased. Only that way can the question be fully asked in reality. “Go, B-rated Myeoneuri!” [Byun Sung-chan]