The climax where Jong-su stabs Ben and burns his body inside his Porsche is highly ambiguous, functioning simultaneously as a literal plot resolution and a metafictional manifestation of Jong-su's completed novel. The film heavily signals the transition into a subjective literary space. Just before this sequence, the camera slowly pulls back from Jong-su typing in Hae-mi's empty room, looking out the window at the bleak landscape. This is the first time we see him actively writing the novel he has struggled with throughout the film. The subsequent murder scene contains several surreal, heightened elements that contrast with the film's previously grounded, naturalistic tone: the sudden heavy snowfall, the eerie silence of the isolated field, and the fact that Ben offers absolutely no physical resistance to his own murder, almost welcoming it with a bizarre embrace. Structurally, the scene acts as a release of the immense class rage and sexual frustration that Jong-su has accumulated. Whether it occurs in physical reality or on the pages of his manuscript, the narrative function remains identical: it is the only way Jong-su can impose order and a definitive ending on a reality that has offered him nothing but baffling, powerless silence. The "aha" is that the film deliberately collapses the boundary between author and character, suggesting that for a powerless young man, violence and fiction are the only tools available to reclaim agency.■