여고생 소영은 아무도 모르게 해야할 일이 있다. 소영은 그 일을 위해 역할대행인을 만난다.

The movie revolves around young composer Yeonji who lands a dream job at the prestigious Forte Studio. 　　Her joy over the position soon fades when she starts working at its isolated HQ due to the eerie atmosphere and odd behavior of her new colleagues. 　　Fiercely ambitious and competitive, she also discovers that her new boss only wants to use her as a ghostwriter rather than letting her shine in her own light.

The story of Sim, a two-time Olympic gold medallist wrestler who has spent his life grappling with the ground. Haunted by a monstrous floor, he reminisces, preaches and worries.

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문래동에 거주하며 음악 작업을 하는 민형은 이곳의 많은 이들처럼 재계약을 하지 못해 이사를 준비해야 하는 처지다. 떠나기 전, ‘문래’를 주제로 작업하던 앨범의 완성도 늦어지기만 한다. 그러던 어느 날, 용접공 지안을 만나게 되고 그녀와 가까워지며 앨범의 마지막 곡을 쓰기 시작한다.

A trans man documentarist named Joo-wan has been filming the bereaved families who keep vigil at a joint memorial altar built on a wasteland. But the altar is about to be removed due to the construction of a new apartment. On the night before the day of removal, Joo-wan’s brother Tae-hee comes and tell him their father died. Joo-wan meets his family after 7 years.

Min-ah moves into a house rumored to be haunted, drawn by its unusually low rent. She doesn't think much of the ghost stories at first—but as the strange tales inch closer to her reality, Min-ah cautiously reaches out to whatever lies beyond the door.

"혹시 어제 꾼 꿈이 있나?" 준비하던 영화가 캐스팅 불발로 엎어지고 난 후, 감독은 친구 제작자에게 저명한 작가를 소개받는다. 그들은 작가의 작업실에서 함께 와인을 마시고, 작가는 자신이 간밤에 꾼 꿈에 대해 말한다. 감독은 다시 영화를 준비하며 과거의 사랑과 조우하고, 새로운 사람들과 인연을 맺는다.

자신의 삶보다 해야 할 일이 우선인 워커홀릭 한겨울. 어느 날 우연히 직장 동료가 들고 있는 문샤인 화분을 보고 마음 한켠에 따스한 바람이 스며든다.

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.