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When the director of this film attends a Hangul, the Korean alphabet, class for seniors alongside her grandmother, she discovers common marks on their bodies. This is their way to record and remember things because they were excluded from literacy education as children.

Twenty-something Se-young, thirty-something Kyung-eun, and forty-something Kyung-soon all try to find the true meaning of their existence within a family that constantly violates the self while Vincent, an American adoptee, mocks Korea’s ‘blood relations obsessed’ society.

In the early 20th century, a Japanese scholar visiting Korea left behind numerous glass-plate photographs. The narrator discovers images of dogs among his photographs and embarks on a journey tracing the stories of dogs from over a century ago.

Living Along the Fenceline tells the stories of 7 remarkable women who live alongside U.S. military bases. They are teachers, organizers and healers, moved by love and respect for people and the land, and hope for the next generation. The film inspires hope and action through the power of ordinary women to resist militarism and create genuine security on their own terms.

Desperately building against the inevitability of time, a restless young woman is awaiting another upcoming loss. But maybe more important things never seem to be told. Soon after the director moves into her 22nd house, she gets a phone call that her Grandma, who lives far away, is in a critical condition. Elsewhere, a huge apartment made of sand is being constructed as the tide rolls in, while she belatedly tries to build a relationship with her Gran. As the camera sensitively observes how we wait for the upcoming days, the film embraces the fragility of life, full of uncertainty.

2013, as a freshmen, I tried running away from the artistic military discipline. 2015, in my sophomore year, I confronted with Sewol Ferry disaster and the pain of others, behind the screen. 2016 in my junior year, I survived from the misogynic survival. 2017, at the final year of college I fought and won against my case of retributive defamation. is a public question and a private record of mundane discrimination and misogynic oppression that a woman in her 20s has experienced living in hell-like Korea.

A director returns to her hometown of Chuncheon to tell her family's personal story.

This film is a documentary of the 2009 SSangyong Motor's strike. The production team actually snuck into the sealed premises and reported the intense, desperate strike and the daily lives of the workers.

Sun Hobin is an incapable family man. While working part-time jobs with an unstable income, he meets Lee Sangtae, a college senior. Together with Sangtae who holds MBA from UCLA, Hobin produces YouTube videos on stock. He opens his first stock account and participates in the money game. Encouraged by his short-term success, he sells his house and uses his credit card to increase his stakes. He bets himself and his family’s future on the stock market. A year later, the war in Ukraine breaks out.

A dialogue-free dance exercise in an empty warehouse in Busan becomes a meditation on the physical impermanence of the body.

In a small port, there is a yard where cats cats stay comfortably. There, two people try to dismantle a ship alone. With sparks and smoke, they cut off the ship, and the cats sit next to them and wait for food. Humans and small lives live together like that.

A Super 8 work made in New York after Nam June Paik invited Kim Soungui to the city.

Director Lee Jeong-joon's distills more than a decade of patient observation, unwavering dedication, and profound ecological insight. Long known as the "Dolphin Man" for his commitment to documenting the lives of Jeju's Indo-Pacific bottlenose dolphins, Lee crafts a film that compels us to fundamentally reconsider our relationship with the sea—a space shared by both human and non-human beings.

Director opens a Korean dictionary and chooses two words at random to make a movie. The words she chose are ‘melancholy’ and ‘regret’. And she chooses her grandmother as main character. Following her daily life, the movie takes an unexpected turn, and the director remembers why she picked up a camera in the first place.

In March 2022, a massive wildfire broke out through Uljin in North Gyeongsang Province and Samcheok in Gangwon Province. The fire threatened not only the lives of the residents, but also the countless animals who shared the area. In the aftermath of the disaster, some animals, especially the cats-known for their territorial nature-were left behind. LUCKILY, I SURVIVED tells the story of the volunteers came from across the country to help with the recovery, and the cats rescued from the site. Among them are 'Snim (monk)' who refuses to leave the burned temple, 'Sandle' who suffers severe burns all over its body, and 'Sagye' once cared for by elderly villagers now ailing after the fire. Through their stories, the film sheds light on the devastating impact of a man-made wildfire and the compassionate efforts of people to save vulnerable lives offering a glimpse of hope for coexistence of human and the rest of nature.

In a mixture between documentary and fiction, the film examines the diverse dimensions of collecting, exploring collections contained in private households and those in museums. In doing so, it highlights the intertwined relationship between people and things.

The invisible 'I' searches for postcards and letters, and eventually takes a train to the industrial city of Ulsan. ‘I’ wanders around the Gongeoptap (Ulsan Industrial Center Monument) area and the Bangudae Petroglyphs (Prehistoric rock carvings in Ulsan), then writes a letter to someone from a place with a view of the factories.

We are living in a time of catastrophe: global warming, extreme climate change, declining biodiversity, and the threat of extinction. These crises raise the need for a fundamental reflection on anthropocentrism and the relationship between humans and non-humans. Within this context, Human Discord Rhapsody imagines a world without us and emphasizes that the world we live in is more than a human world. Snails and ants imagine and sing about a world without us and a world beyond humans, respectively.

The protagonist sets out to find ways to survive without money. She lives in squats, feeds herself by skip-diving and works in organic farms. Leaving the UK, she hitchhikes across Europe. Travelling with hippies, she reconnects with nature and opens herself to go with the flow to find peace. She continues her journey toward the East and becomes closer to her true home.

This works is the Printing on the printfilm by photofilm. The photo have a speed and rhythm through the projection. So it shows another property about the time unlike existing thing photo works have. And it shows image and other things out of image( the film perforation, film cut number, dust, scratch) - It reveal the my obsession about the film.

As a random phenomenon without rules and patterns, the chased signal from inputs 1 and 2 of 'wave forecast' turns into cycle frequencies, called music, and sends them back throughout outputs 1 and 2, to where they belonged. As mentioned, the music performance, delta w, composition film, achieved and presented as a composition film. Homeostasis, that’s how we live in a stable life pattern within a cycle of nature.

The film follows the lives and aims of the people of Gyehwa Island whose livelihood depends upon the sea. The Seamangeun Reclamation changes the social fabric of the communities - and various factions struggle both against the government and each other. One such conflict arises, for example, between the shellfish farmers and the ship owners over questions of compensation for the reclaimed land. On its part, the government proves to be both insensitive to the positions of the islanders and deliberately divisive.

A pious old woman lives alone in her home, her family rarely coming to visit her. Will his prayers alleviate his loneliness?

Geumjeonggul in Goyang City, South Korea, was built for the purpose of mining gold during Japanese colonial period and was closed. In October 1950, during the Korean War, in Geumjeonggul, the police massacred hundreds of residents of Goyang without any legal procedures, and buried them deep in layers. And 71 years later, the bereaved families are still suffering and struggling in trauma.

The Special Investigation Committee, which was created to punish pro-Japanese, was destroyed due to the interference of the Rhee Syngman administration. Since then, the Committee’s Investigators and their descendants live a painful life in the bondage of poverty and ideology.

A Globe in a Flat World (2016) follows a wanderer’s journey into an Augmented Reality simulation of Deoksu Gung, a traditional palace in Seoul. The interior of this treasured site is permanently closed to the public in real life and only accessible as an awkwardly compressed imagery of three-dimensional experience. Inside the AR space, the aimlessly drifting wanderer becomes bodiless, impeded to take a step. Unable to find a liminal space between corridors and rooms, the wanderer loses autonomy to exit.

A woman makes clothes in a basement but someone keeps interfering with her. She is angry but she doesn't know who she's being angry at. 'She' is actually a manikin and she's about to kidnap someone to ask for ransom money. The energetic and lively editing and sound are much alike Kim Gok and Kim Seon's previous work but their message to society is very direct and straightforward. The highlights of this movie are the unique narrative structure that twists the typical customs and the eccentric images.

A documentary on a Korean painter Lee Jungseob. After the Korean War broke out, Lee and his family left Wonsan to flee to Jeju. While his wife and sons stay in Tokyo, Lee settles in Busan by himself.

In 2008, I (Director), setting up a tent near the shore, started shooting the scene of Naeseong stream noticeably changed due to so-called The Four River Governmental Project. The natural circulation carrying the energy of living creatures for the last 100 million years suddenly cut off. Even worse, the sands shining like a gold, which once renowned as the rare beauty in the world, became desolated simply with dark pebbles.

Steps from glittering Yeongdeungpo, Joseph Clinic has long served the marginalized. As redevelopment forces a move to Seoul Station, this film follows its final summer—the poignant farewells and a new beginning—reflecting on a place's memory and the hope that endures beyond it.

What did Monk Seongcheol leave for us? Numerous anecdotes left behind by monks such as Jangjwabulwa and Samcheonbae were talked about, and a large number of people flocked to Haeinsa Temple to see the sarira. What is the meaning of the thought of Ven. Seongcheol, who tried to set Buddhism right by valiantly and diligently saying that the middle should be moderate, to modern people? Learn about the pure life at Baekryeonam Hermitage, including the content and meaning of the Baekil Method, the spirit of not possessing anything, and the strict life that the Sangha University students were told not to sleep and study. The position of Venerable Seongcheol, who insisted that Buddhist purification should be done internally rather than externally, and introduces the process of systematizing Korean Buddhism.

As the world continues to come face to face with the consequences of decades of environmental degradation, Danny Kim’s documentary Zero Waste explores the ways that five individuals in South Korea have taken it upon themselves to create solutions to the country’s plastic waste problems, which has been exasperated by the global pandemic, and whether their efforts can be enough to make up for decades of neglect. Both sobering and uplifting, Zero Waste paints a portrait of both the magnitude of the problem, and the perseverance of those people willing to address them.

The zone is a virtual space. People come to the zone and start talking about their solitude and loneliness.

Time to Remove Superman It is fragmentarily a story of death and it can also be connected to the opposite - birth. When I did research for this work, what was really interesting was an article read that 'We came from dirt and we go back to dirt' is everywhere in all religions and philosophies of all cultures. And I found that sentence and thought over different things and I reached it was meant to be only that way. Regardless of primitive or modern society, religions or philosophies couldn't help but think human body is rotten away and it is cremated and made dirt. We know the process but we haven't seen that. I thought it would be meaningful if I made that out to show. We've watched a mummy disappearing in a movie using CG but I thought I could visually display a message that things we cherished or in which knowledge was contained were made dirt or on the other way, they had been dirt before they came to us.

The director, who works as a contract worker at a major corporation, wants to become a permanent employee. One day she discovers an apple tree in front of the company building. She observes its growth day by day, and after four months of watching, she decides to secretly pick an apple, ripe and crimson, and take a bite. Why did she do it?

From far up, humans look like ants. Or like a virus, driven by consumption and mass production, attacking the earth's resources.

On the 16th of February 2002, the DPRK celebrated the 60th Birthday of Dear Leader Kim Jong Il. The mass gymnastic display titled “under banner of army-based policy” was given by 10,000 school youth and children at the Pyongyang Indoor Stadium.

I work at a call center making a graduation documentary. One ear to the phone, straining toward the past, the future, anywhere but here—calls find me: their voices, silences, sighs—worthless, discarded—passing through me into the partition as faint, indelible stains. Messages accumulate in a voicemail left unopened.

Since childhood, I have carried an imaginary self named “Rachael LEE,” who lives in France. I believed she would fade, but even in my mid-twenties she remains. Refusing to leave her as a dream, I take my camera and leave for France to uncover who “Rachael LEE” — and who I — truly am.

TOUCHING THE SOUND is an experimental documentary that synesthetically re-interprets the sound heard and generated by people whose fundamental human values are under threat. The film's immersive 7.1-channel sound invites the viewers to resonate with and empathize with the tremors of the people confronting panhuman crises such as climate change, gentrification, and war. Through a series of omnibus stories unfold in Gwangju, Jindo, Istanbul, and Tsogttsetsii in Mongolia, the film explores the sonic expressions of people on the edge-between life and death, settlement and wandering, and memory and oblivion-through a tactile experience.

The reality of designated drivers who cannot take their eyes off their phones for even a second while fighting a war to get designated driver calls, and the harsh lives of female designated drivers who have to silently endure insults from rude customers and drive to their destinations are revealed without reservation. Those who have to work themselves to death until dawn to complete one more designated driving call also need warm encouragement. They met sisters who did the same job when they joined the 'Kabugi Mutual Aid Association', a mutual aid organization for designated drivers. Until then, they were lonely individuals who worked separately. They shared their joys and sorrows, created an app to find a late-night restroom, and also grew a community that helped designated drivers who were having a harder time than them. The reality is not easy, but the weed-like vitality of these female designated drivers who encourage each other and live faithfully every day is tenacious.

A Japanese herb called 'shiso' looks like a perilla leaf but has a unique fragrance. It's like how I have a Korean name and nationality but still feel a sense of alienation in Korean society. The death of my grandmother, a first-generation Zainichi, raises a question for me: Does death also mark the end of the life of an outsider? In the end, where do we return to?

Trees from the backyard of NANO LAB, Melbourne, Australia.

We connect to 'Underland,' a forgotten world. Somebody's still there. What's the reason that this being is still living in this place? Guided, we explore Underland.

The artwork presents three scenes: the Paju factory where the books are made, a French professor reading in a lecture room, and a forest landscape. These images are projected simultaneously on three screens arranged in a triangle, allowing viewers to move around and experience the installation from different angles.

​The 49th Hexagram explores the construction of cultural memory and political narrative surrounding the history of the Korean peninsula. Employing the services of an animation studio in Pyongyang, North Korea, Ho Tzu Nyen’s work reinterprets scenes of political uprising and mass demonstration as depicted in South Korean narrative film and television. The project aims to form a direct relationship between South Korea’s political history and the tensions that still define the country’s relationship with its northern counterpart. The result is, in the artist’s words, a “game of exquisite corpse across geopolitical barriers.” The artist developed the experimental soundtrack in collaboration with Korean artists and musicians Bek Hyunjin, Park Minhee, and Ryu Hankil. Offering two vocal renditions of texts from the forty-ninth hexagram of the I-Ching, an ancient Chinese divination manual, the soundtrack composites historical interpretation with translation to speak of revolution and renewal.

A mid-length film of Cho Hye-Jung

Paradise revisits South Korea’s era of authoritarian development (1970s-1980s) through the lens of queer livelihood. Despite the harsh realities of successive dictatorships, compulsory military service, and expectations of marriage and childbirth, six elderly gay men reveal how they converted second-run theaters and nearby bars into popular sites of erotic liberation, same-sex friendships, and romantic encounters.