SYNOPSIS Ae-ri is a ninth grader in an all girls' junior high school. Her mother has passed away and she lives with her aunt. Ae-ri is happy when her father returns from a trip abroad. However, it is revealed that Ae-ri has an untreatable tumor in her kidneys. Ae-ri's father resigns from his job and makes his daughter happy by going on a trip along the south coast as Ae-ri wishes. Ae-ri knows of her terminal condition but pretends not to know. She tells her father to marry his girlfriend, Jin-young. Ae-ri quickly rushes to get published the poems her father has written from time to time. While dancing an ecstatic waltz with her father, Ae-ri breathes her last. 故事 三年级的Ariy住在一间没有母亲的房子里，喜欢从父亲回家。然而事实证明，她患有一种肾脏肿瘤的绝症，她的父亲辞去了她的公司，并且为了让女儿在南海周围旅行感到高兴，这是女儿的愿望。阿里知道她的病情，假装不认识她，与她父亲的女朋友营安排婚姻，并催促出版她父亲的诗歌。阿里和爸爸一起用华丽的华尔兹醒来。

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A direct shot to those modern day people living this world of violence and prejudice. A healing, dramatic story involves people who have been hurt and a seventeen year-old chilld with a growth disorder. A three-year-old child has been diagnosed with autism. My wife has left me. Everyday is hell and the child is noisily crying. I'm struggling everyday. Is there a bigger tragedy than this? I decided to die with my daughter today. The life I wanted to end...I decided to live again for her sake. I see hope. I expect my daughter Se-yeon to get better. She came to me. She's so small but warm...I can do nothing but cry.

第一个故事探讨了“深度”的字典含义，即“从外到内”和“更远的距离”。第二个故事表达了深度的情感内涵，如渴望和欲望。第三个故事像被夹在两面镜子之间一样，进行了令人费解的词语重复，并探寻令人困惑的局面的尽头以及阳光、终结……

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This expanded cinema explores the hypnotic grip of film and questions its role in shaping our memories and perceptions long after the credits roll. In Undercurrent’s first-ever expanded cinema piece, performer-director HeeSue Kwon reimagines the filmic experience. The projector extends itself beyond a mechanical device: it transforms into a living entity, reanimating the collective memories of its audience. Through Kwon’s live manipulation of flickers and intervals, the cinematic apparatus gains autonomy, continuously looping and coming alive. Using a reverse diffusion model, Melting Fire Iceman employs AI to portray the fluid, shifting nature of cinema’s core memories. Early films, drawn from online repositories and the Korean Film Archive, are dissolved and reimagined by AI, seemingly in an infinite cycle of rebirth. In this mesmerising process, the boundaries between memory, spectatorship and the cinematic experience are redefined.