Chun Doo-hwan

The director's reflections on the modern politics of the Reagan administration.

USA is something like a religious belief in Korean history since the liberation. A powerful essay film is born with archival footages and a compilation of images of the Korean modern society. The right film for a generation who's losing the knowledge of Korean modern history.

In South Korea, 2002, the Democratic Party put the presidential nomination to a plebiscite for the first time. Amongst numerous candidates, the one who brought about the most unexpected result was a fringe candidate named Roh Moo-hyun.

The 100 years of history of the Chosun Ilbo and the Dong-A Ilbo show that wrong press can be a social weapon.

The Chun Doo-hwan regime seized power in a coup d'etat, massacred peaceful protesters. People from all walks of life have been fighting the military dictatorship in their own way. And the story of reporter Lee Sang-ho, who has been covering for over 30 years, begins.

There are people whose lives have been shaken by the 'Gwangju Video'. On May of 1980, the course of their lives changed in front of a huge wave of truth in Gwangju. The people who made and spread the 'Gwangju Video' are also the people who had their bodies on the waves. The hidden stories of these people, the 40th anniversary of the Gwangju Uprising, and the pursuit to trace the missing 4 hours of mass shooting will be revealed for the first time.

What happened in Korean society in the 1990s? The film starts with the Jijon-pa (Supreme Gangsters) case. The shocking story is narrated through the discussion by the two detectives who arrested the gangsters, of details of the roundup, data screens, and the death sentence. Nevertheless, Nonfiction Diary’s focus is not on the crime story. Starting from Jijon-pa onwards, the film reflects on the 1990s, when Korea digressed into contemporary history. The Seongsu Bridge and the Sampoong Department Store’s collapses are recalled, followed by the then-government’s punishment of the May 18 Uprising leaders, revealing the Korean legal system’s death penalty status, touching on political and power issues. The audience is reminded that today, 2013, is an extension of that same flow.