Harvesting the Light: The Graves of Diaspora

Jung-kyoung is looking for her younger sister Hoo-kyoung while Chang is a computer whiz who stays on at the rest stop after losing his job. KIM Bak is a reporter and photographer for the local Tongyeong media who frequents the rest stop. Onna is a famous blogger who works at the rest stop and dreams of a new Asian highway. It is also the virtual journey of the 880-thousand-won generation. They show the sense of loss, loneliness, and communication in this digital age. An older sister searching for a young sister who has run away from home, an animator who wanders around aimlessly after leaving his job, a reporter, and the employees of the rest stop.

Where you are born is called “hometown”. What do you call where you are buried? A story about 8 North Koreans who went to Moscow Film School in 1952, and sought political asylum in 1958 after denouncing KIM Ilsung. Their lives as Koreans and as filmmakers are captured through images from Moscow to Kazakhstan.

Socialist feminist JU Sejuk(1901-53) was subject to exile by Stalin. She found herself in Central Asia in a vicinity of Cosmodrome. This brings forth to SFdrome facing future and past in a “strange” place of Sci-Fi dwelt by JU Sejuk.

"I'll Be Seeing HER" is an approach to images of women in Korean cinema with a new genre, ‘Fanta Docu’, which shows beautiful and adventurous Korean actresses in the 1950s. The director, Kim Soyoung stated that “studying and teaching Korean cinema history, I felt sorry that most documentaries on Korean cinema had been made from the male perspective,” which led her to make a documentary on Korean cinema through women’s eyes. Kim So young directed ‘Women's History Trilogy’ (Koryu: Southern Women, South Korea, I'll Be Seeing Her: Women in Korean Cinema, New Woman: Her First Song) which was screened at many international film festivals including Yamagata International Documentary Film Festival.

In April 1920, the Japanese army slaughtered Koreans living in Vladivostok. They also executed Korean revolutionaries such as Kim Afanasi and Alexandra Petrovna Kim before the forced migration of 1937. The scenes of Korean genocide in Ussuriysk and Vladivostok make up the exile trilogy prequel, and archives history on screen.

A female laborer in the Winter Republic crosses a river. She sings Kongmudohaga. An experimental montage connects the front and back of history.

The author writes that at the moment the sun retrieved its last ray of light, the girl "sensed sensuality in the dark and watched death". The Woman at the Toy Store (OH Jeonghee) was transformed into a film, and the sexuality of the girl and woman gained the rhythm of requiem. The thrill of the moment when the positive changes to negative is, therefore, the sensuality of the cinema. Blue Requiem, the queer experimental work dedicated to the girl and the woman, arrived in the Winter Republic in 1986.

The documentary starts with a diva of a tragic family history related to a history of migration. The rare archival footage reanimates her history reverberating with the current world crisis. Sound of Nomad: Koryo Arirang is a testimonial – a witness to injustice and tragedy, but it is also a declaration of survival – a survival that is not static but transformative – not brittle but fluid. The trains that displace, the deserts that separate form one harsh horizon – a historical limit – but within that limit, against it and across it are people, are a culture, not escaping but flourishing unofficially, with the affective majesty of a melody, a rhythm, an Arirang