Sang-hoon, [Yang Ik-june], is a foul-mouthed and violent gangster who works for an illegal money-lending network run by his long-time friend and loan shark, Jeong Man-sik. He is first seen pushing the limits of his power during a protest crackdown staged by his crew at a construction site, a scene that immediately establishes the brutal environment he inhabits. He adores his nephew, Kim Hee-soo as Hyung-in, and his sister also shows care by inviting the boy to dinner, even as Sang-hoon keeps his distance. The backstory hints at a troubled past: as a child, his abusive father stabbed his sister during a quarrel with Sang-hoon’s mother, who was then struck by a car, leaving open questions about what his origins mean for his present actions. The possibility that his father may have moved on with another family lingers in the family lore.
One day, after visiting his nephew, Sang-hoon crosses paths with Han Yeon-hee, a sharp-witted high school student portrayed by Kim Kkob-bi. He spits on her, and she demands an apology; a fierce confrontation follows, culminating in him punching her and knocking her unconscious. When Yeon-hee awakens, she finds Sang-hoon waiting for her and has her clothes wiped clean, a gesture that paradoxically unsettles and intrigues her. Undaunted by his ferocity, she challenges him to make amends, and a tenuous bond begins to form between them. Although Sang-hoon initially assumes Yeon-hee comes from a wealthy family, the reality is far more precarious: the couple struggles to keep a roof over their heads as rent demons haunt them. Yeon-hee’s father, a war veteran, is plagued by delusions about his wife’s fate, and her brother Han Young-jae, a thorn in the side of the family, often threatens and mistreats Yeon-hee.
A junior colleague of Sang-hoon ropes in a friend, Young-jae, to join the debt-collection side of Man-shik’s operation. On his first day, Young-jae accompanies Sang-hoon and their circle as they move from debtor to debtor, but he is hesitant, and Sang-hoon’s temper flares when Young-jae’s unease clashes with the pressure of the job. The tension within the family and the debt-collecting crew deepens when Sang-hoon goes to visit his father, who has just cut his wrists after being released from prison for stabbing Sang-hoon’s sister. The moment crystallizes Sang-hoon’s lingering love for his father, a conflicted tenderness that contrasts with the surrounding brutality. On the same day, Yeon-hee’s father becomes more paranoid and threatens Yeon-hee with a knife, underscoring the peril that surrounds them. The two troubled souls—Sang-hoon and Yeon-hee—reunite for a drink and share a quiet, tearful moment, their vulnerabilities laid bare in the glow of streetlight and sorrow.
As the year winds down, Sang-hoon tells Man-shik that it will be his last day as a gangster and invites him to meet Yeon-hee, his sister, and Hyung-in. Man-shik, whose aspirations have started to shift toward opening a gogi gui restaurant, agrees to the plan, signaling a possible exit from the criminal life. On his final rounds, Young-jae’s conscience wavers, and he cannot help but caution against excessive force; Sang-hoon, however, remains bound to the brutal code. A debtor lashes out in return, striking Sang-hoon with a hammer, and the two men retreat as Sang-hoon bleeds from his nose. He asks for a handkerchief, but Young-jae uses the moment to strike again, leaving Sang-hoon on the roadside, gravely wounded and fading away.
In the epilogue, the trajectory that began with violence orbits toward a somber end: it is strongly suggested that Sang-hoon has died. Yeon-hee, Hyung-in, Sang-hoon’s sister, and their father gather for dinner at Man-shik’s newly opened restaurant, a small beacon of life continuing in a world that has taken so much away. As the night ends, Yeon-hee catches sight of her brother dismantling a street-side food stall in a gesture that mirrors the destruction she associates with her late mother, Kil Hae-yeon. The film closes on a note of quiet ambiguity, where affection, loyalty, and the weight of past traumas collide against a backdrop of poverty, fear, and the unsteady hope for a different future.
