I ron ▁has ▁also ▁been ▁described ▁as ▁expl oring ▁social ▁status ▁and ▁" issues ▁of ▁marg inal ity , ▁vo ic eless ness , ▁and ▁in visibility " ▁in ▁South ▁Korea . ▁Se ung ▁Ch ung ▁describes ▁T ae - su k ▁and ▁Sun - h wa — present ed ▁at ▁varying ▁points ▁in ▁the ▁film ▁as ▁either ▁in aud ible ▁or ▁invisible — as ▁being ▁" of ▁lim inal ▁class ▁affili ations ." ▁W riter ▁Sh eng - me i ▁Ma ▁similarly ▁notes ▁Sun - h wa ▁and ▁T ae - su k ▁as ▁being ▁" m arg inal ized , ▁' half - human ' ▁protagon ists ". ▁T ae - su k ▁is ▁dep icted ▁as ▁a ▁trans ient ▁with ▁no ▁known ▁family , ▁and ▁from ▁dialog ue ▁in ▁which ▁Min - gy u ▁rec ount s ▁having ▁w ired ▁money ▁to ▁Sun - h wa ' s ▁family , ▁it ▁can ▁be ▁infer red ▁that ▁he ▁and ▁Sun - h wa ▁are ▁in ▁an ▁inter class ▁marriage , ▁with ▁Sun - h wa ▁ha iling ▁from ▁a ▁family ▁of ▁lower ▁economic ▁status ▁than ▁Min - gy u . ▁Ma ▁writes ▁that ▁the ▁film ▁uses ▁" the ▁universal ▁symbol ▁of ▁golf ▁as ▁a ▁sign ▁of ▁aff lu ence ", ▁with ▁T ae - su k , ▁" not ▁yet ▁aw ak ened ▁from ▁the ▁dream ▁of ▁social ▁status ▁and ▁power , ▁[ ... ▁copying ] ▁the ▁l ifest yle ▁of ▁the ▁rich ▁through ▁golf ▁practice ." ▁He ▁notes ▁that ▁Sun