Director Ryu Hyung-seok, who served as a conscripted firefighter during his mandatory military service, made a documentary about firefighters. Responding to calls from those on the edge of life and death, these modern-day heroes at the Yangsan Firestation and Ulsan Fire Headquarters are the focus of The First Responders. Without voiceover narration or interview shots, the film captures not only the team’s work and daily lives, but also their inner darkness, desires, and the difficult fate inherent in their profession. Here, the camera is not simply a tool for recording but is one of them, acting as their eyes. “Just strip away all emotion and focus on what you need to do,” one firefighter says, and the documentary mirrors this approach, moving steadily forward without being swept up by emotional waves. Yet the film inevitably reaches heart-warming moments. This documentary offers an exceptionally humanistic insight into the profession.

La memoria di una madre con demenza si dissolve gradualmente, sbiadisce e si sgretola.

The late Kim Dong-il, a Jeju April 3 refugee in Japan, left behind over 2,000 crocheted items and pieces of clothing that preserved her memories, identity, and history. As the film traces the redistribution of her belongings, it illuminates the still-unhealed lives of various Zainichi Koreans who lived through the same era, sharing and connecting their intertwined memories.

知名综艺导演罗英石PD在YouTube上的个频道因出众的罗PD节目风格而备受大众喜爱。此次，罗PD将日常生活场景公开，以微综艺形式，为观众带来好友闲聊的家庭酒局《罗pd和认识的哥哥一起》。 演员李瑞镇作为罗PD好友代表促成了此次节目，平日里他总会来到罗PD团队的企划室，作为秘密基地，喝酒聊天，罗PD便将这样的场景公开，为观众带来明星的休闲日常。

믿음과 소망 자매는 불상사에 산다. 어느 날 티비에서 산타 할아버지를 본 소망은 크리스마스에 산타가 절에 오기를 기다린다.

소년은 엄마의 모텔 방에서 소녀와 시간을 보낸다. 둘 사이에는 야릇한 기운이 감돈다. 그때 갑자기, 소년의 꼬추가 소녀에게 붙어버린다. 소년은 자신의 꼬추를 돌려받기 위해 고군분투한다. 하지만 소녀는 알 수 없는 말들만 늘어놓고는 소년의 신체 부위를 하나씩 피자에 올려 먹는다. 둘은 피자를 빼앗고, 서로를 찌르고, 소리치며 싸운다. 옆 방에서 들려오는 신음 소리와 소년의 고통스러운 절규가 뒤섞여 방 안을 가득 메운다.

내 사랑은 진짜다, 라고 믿어 의심치 않는 사랑예찬론자 지은, 어느 날 남자친구의 얼굴에서 작은 점을 하나 발견한다. 그리고 무슨 영문인지 점점 커져만 가는 점 때문에 심란해하던 지은의 앞에 새로운 남자가 나타난다.

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.