我们已经忘却了这条河流。2008年，随着四大江项目开工的消息传来，我搭起帐篷，开始拍摄因建造永州大坝而对内城江所做的改造。与防洪、保障水资源和改善水质等承诺无关，这条河失去了它原本的……

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.

Following the death of her beloved friend Seo-yeon, Se-ryeong reflects on their time together and cherishes the memories they shared.

Four women, who have lived for more than three decades within the confines of patriarchy and compulsory heterosexuality, gradually become entangled as they arrive at gender-queer and lesbian identities through different paths in life. Their testimonies and personal records, revealed through extended conversations and interviews, intersect with Adrienne Rich’s concepts of “lesbian existence” and the “lesbian continuum,” queer Korean history, letters, critical writings, and other diverse texts. The artist reconstructs these materials through acts of copying by hand, erasing, tearing, and repeated editing, creating an open narrative in which different times and voices intersect rather than binding personal memories into a single, complete story. Together with a professional performer, the participants transform emotions and memories that cannot be fully articulated through words or writing into movements of “swimming,” performing a language of the body in a public square. In this process, their bodies intertwine and question one another, moving toward what lies beyond language.

Growing up with divorced parents, 15-year-old Haeun is left completely alone after losing her mother. Before she has time to grieve, she is confronted with a stack of unfamiliar documents filled with terms she has never seen before. They are the paperwork and administrative procedures she must complete to settle her mother's affairs and begin living on her own, but they are overwhelming for someone still so young. Her aunt visits from time to time and offers to help, yet her kindness seems to come with hidden intentions. With no one else to rely on, Haeun decides to seek out the father she doesn’t remember. After finally tracking down his phone number, she nervously calls, but only hears the ringing tone. He never answers. She tries again using her late mother's phone, but there is still no response. As a last attempt, Haeun prepares to leave him a voice message, but no words come out.

暂无英文版的简介，请添加内容帮助我们完善数据库。

暂无英文版的简介，请添加内容帮助我们完善数据库。

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

In a mole family that farms carrots, young Jack breaks his father's carrot trophy in a fit of anger and starts digging to hide the evidence — only to stumble upon his parents' secret tunnels. The discovery throws the family into confusion. Dad tries to come clean, but Mom holds him back. Then, with quiet resolve, Dad pulls up a giant carrot and Jack and Mom join in. The next day, as the family fills in their holes, Daisy is quietly up to something else. A short animation that wittily captures family misunderstandings and reconciliation, with carrot imagery woven through every layer.

4年前，马格萨尔（Magsar）和他的父母从蒙古来到韩国。13岁的马格萨尔韩语还不流利，但他在跆拳道方面比任何人都有自信。尽管因为家人处于未登记状态而缺乏安全感，但他们仍日复一日地努力生活。有一天，马格萨尔参加了一场武术比赛。