Rose spends her days fishing near the beautiful lake house she’s called home for 50 years. She’s not getting any younger and her daughter Patti worries about Rose being all alone, but the stubborn matriarch will not sell. There are memories here that she doesn’t want to leave. These come flooding back one weekend during a visit from Patti and granddaughter Allison, when a long-forgotten roll of film reminds Rose of the summer she met and fell in love with the bold and beautiful Louise.

This film speaks of archaic peoples, their customs and mores, in an attempt to make the last snapshots of their traditional lifestyles before they are gone for good.

A series of snapshots from the life of a fictional actress named Shirley serves to weave together thirteen paintings by Edward Hopper (e.g. “Office at Night”, “Western Motel”, “Usherette”, “A Woman in the Sun”) into a fascinating synthesis of painting and film, personal and political history. Each station in Shirley’s professional and private life from the 1930s to 1960s is precisely dated: It is always August 28/29 of the year in question, as the locations vary from Paris to New York to Cape Cod.

In a quiet corner of Seoul, Jung-won runs a small photo studio. A humble shack passed down from his widower father, the studio is a space where Jung-won goes about his daily routine of dealing with fussy customers, enlarging photos of class heartthrobs for the neighborhood kids and photographing pictures to place on funeral altars. For Jung-won, life seems to be a series of peaceful events, but in reality his time on earth is too limited for comfort. Barely in his mid-30’s, but perhaps too aware of the meaning of death, Jung-won accepts his fate despite the subtle gestures of concern he gets from his old father and younger sister. Life goes on as usual until one day he meets Darim, an employee at the Traffic Control Division of the local district office. She is a regular customer at the studio who comes everyday to develop snapshots of parking violations…