Where to Dry the Net

Masarap Na Kanta begins like an impressionist painting. A man sits at a table outdoors, which makes the scene look like another uneventful day in the suburbs.

The film flows not between points, but along the lines that connect them. I did not walk. I passed through. And now I walk again along those traces. That day, I was the camera, the fish, and the lingering wind.

Ball, wind, and tree. Light, shadow, and surface.

A portrait of Lee Ki-young, a novelist who led the proletarian literature movement in Korea during the Japanese colonial period.

This film is an attempt to create the certain sense of places in Manchuria. Sound and images excerpts from Manchurian action films and official photo documents of Manchuria areas are crossed to arouse sensory experiences.