- h wa ▁" inst inct ively ▁tries ▁to ▁stop ▁that ▁em ulation ", ▁but ▁fails , ▁resulting ▁in ▁T ae - su k ▁striking ▁an ▁innoc ent ▁woman ▁with ▁a ▁st ray ▁ball . ▁ ▁Writing ▁of ▁the ▁latter ▁half ▁of ▁the ▁film , ▁Se ung ▁Ch ung ▁describes ▁T ae - su k ▁as ▁" liter ally ▁[ be coming ] ▁invisible ▁after ▁master ing ▁the ▁ability ▁to ▁hide ▁in ▁the ▁shadow y ▁j ail ▁cell , ▁outside ▁the ▁pur view ▁of ▁human ▁vision , ▁through ▁met aph ys ical ▁' g host ▁practice ". ▁The ▁term ▁" g host ▁practice " ▁() ▁was ▁co ined ▁by ▁Kim ▁himself ▁and ▁used ▁in ▁a ▁number ▁of ▁local ▁inter views ▁about ▁ 3 - I ron . ▁Film ▁critic ▁A . ▁O . ▁Scott , ▁in ▁his ▁review ▁of ▁the ▁film ▁for ▁The ▁New ▁York ▁Times , ▁suggests ▁that ▁T ae - su k ▁" be comes ▁a ▁ph antom ▁of ▁cinema , ▁hiding ▁on ▁the ▁edge ▁of ▁the ▁frame ▁and ▁taking ▁advantage ▁of ▁the ▁literal - mind ed ▁folk ▁who ▁haven ' t ▁fully ▁grasp ed ▁the ▁potential ▁of ▁the ▁medium ." ▁Se ung ▁Ch ung ▁wrote ▁that ▁the ▁final ▁shot ▁of ▁the ▁film , ▁in ▁which ▁Sun - h wa ▁and ▁T ae - su k ▁stand ▁together ▁on ▁a ▁scale ▁that ▁displays ▁a ▁weight ▁of ▁zero , ▁implies ▁the ▁couple ' s ▁" mut ual ▁trans c end ence ▁of ▁bod ily ▁existence ." ▁Ma ▁refers ▁to ▁the ▁ending ▁as