A traveler’s camera often aims at people in the streets as if it’s being pulled in. The burnt-red photo of drunkards in the alley carries into the director’s memories of taking refuge in different houses after the house was burned down. And the film goes from a feeling of being lost without a place to belonging to the history of ‘exotic’ Okinawa. There are still traces of the US army in Okinawa, where the whole island drifts without belonging anywhere. The connections of photos, memories, and history form a loose alliance among those who share the indefinite dislocation state. Thus, the burned negatives are where the private memory, the rooftop house of Sadang-dong, and the history, Shurijo Castle, meet. Therefore, the color red in this film is a physical scar that testifies to the pain of ‘dislocation.’(KIM Yesolbi)