From the comments of others on this board, it seems that they are quite confused about the ending; but if you pay close attention, you will see that the ending is very clear: In-Su leaves his unfaithful wife, and reunites with Seo-Young. There are many clues that lead up to this: 1) At one point, when In-Su and Seo-Young are talking about their favorite season of the year, Seo-Young says "Spring" and In-Su says "Winter". Then, as a way of pleasing both of them, he says that it should snow in spring. And she laughs and says "Yeah, like that's ever going to happen". (Keep this scene in mind for later.)2) When In-Su tells his wife in her hospital room that her lover has died, she breaks down sobbing, and then you see him stepping outside her hospital room closing the door behind him while you hear his wife's sobs. That indicates that he is closing the door on his marriage and leaving it behind.3) In some versions of this movie, there is a scene showing In-Su briefly back together with his wife (this scene was cut from the US version of the movie). However, the reconciliation didn't work out, and I suppose that's the reason this scene was cut, as it really seems unnecessary. 4) Much later, we see In-Su alone in a room surrounded by boxes, indicating that he has recently moved to a new place (away from his wife) and is now living alone.5) Finally, in the middle of April (Spring) In-Su looks up and sees the snow coming down. At the same time Seo-Young looks out the window and sees the same thing. The fact that it's snowing in Spring, is a sign to both of them that their love is meant to be (remember the scene I mentioned above). Then we hear the phone ring... (representing In-Su calling Seo-Yeong).6) Immediately thereafter, you see a car moving, and although you don't see who's inside, you hear In-Su's voice asking "where do you want to go" and you hear Seo-Young's voice responding "wherever you want to go". They end up together at the end!

Take IN THE MOOD FOR LOVE but have the protagonists meet when their spouses are in a serious car crash, don't be so bloody obtuse about the whole thing, and you're on way to making APRIL SNOW. Writer/director Hur Jin-Ho is certainly not a cheerful chap, with his trilogy of seasonally-named films each taking a depressing scenario and quietly exploring the characters' pain... yet somehow his films don't end up actually being depressing. The situation could easily lend itself to melodrama (and the soundtrack seems like it wants to go there), but the characters and emotions feel too real and natural.Although the plot of the film is essentially very predictable, it's all about the details... the unassuming direction places the actors in the spotlight - a light that pierces right into the characters, and requires superb performances from the cast. Luckily Bae Yong-Joon and the gorgeous Son Ye-Jin are capable of delivering exactly that.Very well crafted and enjoyable, though not so innovative as ONE FINE SPRING DAY.

Very quickly "In the Mood for Love" and "Random Hearts" rushed into my head while I was seeing Oechul, all three talk about cross-affair between two couples.RH truly makes me feel impatient because from story to acting, I find nothing impressive about it at all. ML is a refined and likable miniature that lures you to watch it again and again, get closer and closer (yet you may fear you get too close to it) for the beauty on the screen and also the music. And this Korean affair is one that makes you think about it once in a while even without any desire to watch it again.It is an uncommon story on two ordinary lives. The story is uncommon as its English title displays "April Snow", we do not have much snow in springtime. Ordinary is that we have no "rare" figures like Congresswoman or fiction writer but ordinary people, concert technician and housewife. (Which probability is higher: bumping into a housewife or a Congresswoman in the street?) The affair is a controlled spark, and unplanned sweet-bitter "revenge", a quiet but unforgettable episode just happens to take place at a point of their lifetime. It is an unexpected affair out from an unexpected accident of a premeditated affair. Tranquillity is the specialty of the director. All though out the film, serenity rules, even the struggle at separation (the bye-bye moment) and the embarrassment at the husband's funeral are dealt with an uneventful presentation, though their sobs for losing their love really cut one's heart.Both the endings of ML and Oechul are highly realistic in Asian culture: reunites with the spouse after the doom. Marriage in conservative cultures is generally handled with a more serious grip and tolerance. The film exhibits how mature and sensible can people manage their passion in real life. Perhaps we should feel happy for the two persons in RH. They are far much luckier as their unfaithful spouses have already been deservedly killed in the accident and the left-behinds do not have much to worry about if they decide to spend their lives together afterwards.Other works on affair like "The Bridges of Madison County" and "Brief Encounter" also sprang up my head. Robert and Francesca, Alec and Laura cannot be together at the end of their lives. What different is Seo-young and In-su have higher chance, more hope to come together again because they have time and fewer constraint. After all, no one can tell how long the wife can bear living with her betrayed husband with "shame" and "guilt" as attachment.

"Oechu", or "Wae Chu" according to the Toronto IFF, means "going out". The English title for both Toronto and Hong Kong is "April Snow". It seems that director Hur Jin-ho has a high awareness of the seasons as the titles of his two previous movies were "Christmas in August" (1998) and "One fine spring day" (2001).To many regular viewers of Korean movies (a few movies each year), "Christmas" was their first introduction and is still considered among the best (while the tombstones of those who died of boredom watching it would already be showing signs of weather erosion). "Spring" has mixed reviews, with many considering it a setback from "Christmas". "April snow" is sort of a comeback, although it does not have the depth of "Christmas" in which death is the subject matter rather than a plot device.The plot of Oechu is simple. His wife and her husband, who are having an affair, got in an accident during their escapade and are both in a coma. Encountering at the hospital, they gradually find out that their respective spouses, who where college classmates, have been cheating on them. Starting with understandable animosity, they wind up falling in love.The key to the success of the movie is the development of the relationship between these two people, which takes time and patience to render believable. With this director Hur has done a splendid job. For the critical turning point, he cleverly utilizes a situation where the two attend together the funeral of a third victim of the accident, a young chap. As the spouses of the careless drivers (it could not be established which one was driving), they obviously are met with extreme hostility from the family of the deceased. This incident creates the necessary empathy which breaks the ice between them.There are some lovemaking scenes, which are more sensual than erotic. Very palpable together with the pleasure is also a sense of agony and pain. And those who think that these scenes are daring for a Korean movie have obviously not seen "Happy End" (1999).One scene that left me with the deepest impression was when his father-in-law knocks on his hotel room door while they are in the room, not making love but simply enjoying being with each other. Millions of similar scenes must have been seen in movies and yet I've never seen one that moves me so deeply. There's light tension, but no panic, as he asks the father-in-law to wait a second, gathers her telltale belongings and leads her gently into the bathroom and closes the door, gently. He then meets the father-in-law at the door and suggests that they go out to lunch together. On the stairs, he asks the father-in-law to wait downstairs, saying that he has forgotten something. Back in the hotel room, he opens the washroom door. She is still standing there, coat in hand, looking very stoic. She then turns and faces him and very mildly, but reassuringly, says, "I'm OK". The scene ends in a light, affectionate embrace.This scene says so much. There is nothing that they are ashamed of or need to hide, but tradition dictates that they should not be found together in his room. They face the situation together, with sensible and sensitive consideration for each other.Since Lover's Concerto, Son Ye-jin has been the most sought after young Korean actresses. Personally, I think her most popular "Classic" (2003) is over-rated. "April snow" is where Son has attained a breakthrough in her performance.Bae Yong-jun is a victim of his own popularity as I've seen more than one criticism of his acting that reflect the writers' "hate-celebrity" syndrome, from which I'm happily immune as I can't tell him apart from the guy next doors. The only other movie I've seen him in is "Untold Scandal" (2003), in which he wears a mustache and beard. In that picture he comes short, not having enough maturity and charisma to play a character brought to life by John Malkovich in "Dangerous Liaisons" (1998). He is much better cast here in "April snow" as a melancholy sort-of artist (stage light designer, particularly for concerts).One thing I must say is that you'll be hard-pressed to find a better looking (in a very literal sense) Asian couple than this pair.