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Most of the time, the two protagonists wear white shirts and tops.
In a rare moment of actual interaction between the two one night on the stairs, the only thing Jung can think of is to offer the 11-year-old a cigarette while tears are welling up in his eyes.
Every now and then, we learn about some young child who, not unlike Mowgli having been abandoned by humans after birth, grows up unaware of the expected human behaviour imitating instead the creatures that it has lived with, be it dogs, monkeys or whatever else.
Just like a warmth-seeking missile, he never seizes to direct his attention towards him – he smells his chopsticks to find out what he had for dinner, he takes a photo of both of them together while Jung is asleep and even secretly cuts one of his pubic hairs – all to be entered into his journal which is entirely dedicated to documenting Xiao Wu’s observations of the tenant.
Occasionally, he tries to get under Jung’s skin by putting on his boxer shorts and mimicking his daily routines, including shaving.
The film’s central characters are Xiao Wu, an 11-year-old Chinese latchkey boy left to fend for himself after school while his mother is away on never-ending business trips and Jung, their thirty-something suicidal wreck of a tenant from Korea.