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They speak the same language, share a similar culture and once belonged to a single nation. When the Korean War ended in 1953, ten million families were torn apart. By the early 90s, as the rest of the world celebrated the end of the Cold War, Koreans remain separated between North and South, fearing the threat of mutual destruction. Beginning with one man's journey to reunite with his sister in North Korea, filmmakers Takagi and Choy reveal the personal, social and political dimensions of one of the last divided nations on earth. The film was also the first US project to get permission to film in both South & North Korea.

The story of the women at the "House of Sharing" continues. Old women who share a common bond lead a peaceful life in the countryside, raising vegetables, chickens and painting pictures. They are no different from the elderly women we see every day. But they are all scarred by pain and sorrow from their collective history of being comfort women during World War 2. They became subject to prejudice in their own homeland after their return to Korea. It is painful for them to watch other peoples' children and grandchildren, and they feel rage when the Japanese government tries to cover up the unspeakable crimes they committed against them. The film asks us to remember what these women sacrificed and the shame and misery they faced even as these individuals pass away often forgotten by their own people.

Pyongyang, a city full of happy people and flowers. A city of factories with smiling seamstresses and welders of locomotives. A city of power plants the illuminate department stores offering the fruits of the labour of its workers and peasants. Everybody spends their free time in sports palaces with synchronized swimming and white doves, or in the palace of cultures, where young pioneers play the accordion. Old men and women go on walks and young lovers rent boats by the river, above which arches a rainbow, a symbol of happiness and contentment.

Matsuda Shunji, a freshman of Amagasaki High School in Osaka faces a difficult decision regarding the revelation of his Korean name, Lee Jun-Chi. The teenager is aware of the difficulties of living in Japan with a Korean name, and so dreads the day when he is supposed to make this decision. He ultimately meets a loneliness whereby we are left to witness the outcome of his dilemma.

A personal consideration of the Korean cinema by director Jang Sun-Woo, looking at it’s history of outside influence and censorship.

Every Wednesday at noon, women who were kidnapped for sexual purpose by the Japanese army during its imperialism and their supporters demonstrate against Japanese government to request official apology and indemnity for their crimes. This documentary portrays sexually abused old women's suppressed story of overcoming of their shame and forced silence.

This documentary chronicles a yearlong layoff process at Hyundai Motors Co., a leading automotive group in Korea, as laborers were forced to give up their job in the midst of Korea's economic crisis. They are tangible human beings with hopes and despair, people that cannot be described just by their tactics and standpoints. Images of workers departing their beloved factory makes us aware of Hyundai's method of structural adjustment.

The 54th, the record of that summer, is, as the name suggests, the record of the 54-day long struggle for 'nullification of an ex officio sign' by Hyundai Precision Industry workers in Ulsan in the hot summer of 1993. Prior to collective bargaining on wages, the company secretly signed a unilateral agreement (signed ex officio) with one of the labor union leaders and tried to put it into practice. The workers of Ulsan Hyundai Precision Industry were enraged at the sense of betrayal of the union leader they trusted and the despicable treatment of the company, and for 54 days in the hot summer, they start a strike to get a fair price for their labor.

This documentary is an "Asian report" on so-called international prostitution. The subject matter of parasitic tourism in Jeju Island in Korea is focused on, and it is said that international prostitution in Asia has a relationship between countries, focusing on Thailand and Japan, and that it is not only a problem between countries biased by the flow of capital, but also in the context of "sexual culture" with long roots. In the second half, the question is what is the alternative and what is the boundary between prostitution and non-prostitution in the current situation that is considered to be like "ghetto" because it is separated from the life of the general public.

A follow-up to 1996's documentary on the massacre at Cheju island, Red Hunt 2 exposes the real facts of the outrage upon personal rights and the brutal butchering occurred 50 years ago. Lives of nine survivors with their grieving testimony expose the horror of six yearlong massacres by Rhee Seung-man regime which still lingers today.

Late at night, parents who lost their children huddle under the incandescent light of the sit-in site and unfold their own stories.

The sequel of "Heangdangdong People", a documentary about a struggle and dream for community of Heangdangdong people against the unfair removal of their housing. Heandangdong people in the removal region finally finished the struggle in the victory after the 3-year-struggle against the removal and they are now settled in the provisional residential building. They have gradually overcome poverty and have been establishing a local community through a production cooperative and a credit cooperative to materialize their dreams. Headangdong people's story with their successful community suggests a concrete way and hope about an alternative life.

This film shows that ‘how mass media dominates our daily life’ in a mixed format of drama and documentary. Part 1 is a drama represents the process of a human life from the childhood when the person first encounters with TV to how TV dominates him while growing up. Part 2 is a documentary of a group of people who banned from TV for a month. This experiment makes us think about what TV means to our life.

Independent films that do not have a less than 20 years history. They do not have lost hope and passion despite repeated conflicts and ups and downs. It was possible because of the belief that independent films are at the center of the world in their role, even though they are located on the periphery of society. Through the testimonies of many independent filmmakers, current activities, and footage, Korean independent films are shed new light. The periphery is the center, and the center is on the periphery. A reflection on the inside of the independent film industry to find trust in each other, talking about the hopes of independent films looking for a new path.

The collective heroes of the film represent the Chinese Korea society: its past, present and future. The director examines the particular experience of the ethnic group without dramatization, as he paints their portrait with genuine respect for the tragedy of the subjects.

In 1990, due to the skyrocketing rental price, many tenants suffered and even took their own lives. Showing their memorial service as a starting point, we approach the problems of housing policy and the social structural problems of Korean society.

This documentary captures the Korean film industry's campaign to maintain the screen quota system, in opposition to the government and Hollywood's plot to overtake the film market. Images of them shaving heads and going on hunger strikes reveal oppressed state they are in and their willingness to fight. Currently, they are waging a campaign for international solidarity among filmmakers.

Unlike “trilogy on torn-down neighborhoods,” (The Sang-kye dong Olympics, Haengdang-dong People, and Another World We Are Making), Standing on the Edge of Death calmly describes how urban poverty was formed, how they live, and why more than 20 of them committed suicide at once in 1990. In this film, the director explains that people who moved from poor countryside formed urban slum, and because they did not have formal education or asset, they worked as day laborers. Residence was one particular problem they faced as they lost their main dwelling area due to redevelopment. They start their day at dawn and work till night. However, these hard-working people do not receive any recognition from the society.

The Father Moon Ik-hwan had been imprisoned for inaugurating the National Security Law after visiting North Korea. However Korean people’s desire for reunification heated up the whole country and Moon Gyu-hyeon and Lim Su-Gyeong visited North Korea. That means Father Moon’s visit to North Korea triggered Korean people’s desire for reunification. This film represents the Father Moon’s point of view on and people’s movement on reunification through influence of his visit in North Korea in 1989.

The happy lives of Haengdang-dong residents are overturned when their land is slated for redevelopment.

With the implementation of the 1988 government policy to shut down and combine small schools around the nation, Doomeal Elementary School in Doomealee Village, Gapuyeong-gun, is designated to be closed.

In Korea, when things go wrong in the household, the housewife may consult a shaman to determine if the problem is caused by an angry god or ancestor. The occupation of shaman is female dominated and holds a dual reputation in contemporary Korean society. In one respect, shamans are considered lewd women who promote superstition; in another, they are seen as keeping alive the religious ideals of the past. The film follows one woman's trials from when she felt destined to be a shaman through her two-day initiation ceremony. The emotional impact of the ceremony, which is apparent throughout, reaches a climax during the ritual of the 'knife riding general' in which the initiate stands barefoot on knife blades in order to receive the spirits and speak in their voices.

70 years ago, a massacre called ‘Red Hunt’ occurred in Jeju island. Over 6 years, countless lives were murdered in the Daranshi cave, Jungbang waterfall, and Ompang field. There was no line between life and death. There were only ideological and political strategies that surrounded Jeju. After 49 years, survivors can finally testify the memories that could not be forgotten.

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.