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.

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.

Byeongho has always wanted to be a musician, but the harsh realities of life have forced him to prepare for a civil servant job, which is far from his passion. However, his love of music persists in his mind. When he happens to meet a homeless person, Byeongho begins to rethink his future.

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On a cloudy summer day, Mizo and Modu encounter a large rock that supposedly grants wishes, during their Cub Scout activities. After that day, Modu disappears without a trace. Mizo searches for Modu every day, but to no avail. Then one day, after a long time has passed, Modu returns to Mizo, and says, "I want to be a rock."

Taesan and Dongju are a long-time couple. As they prepare to move, they find an old sofa on the street and bring it home. Their cramped apartment, now filled with the sofa, the couple preparing for their move, and their dreams, are depicted with an air of detachment. The film captures their emotions with a unique rhythm, floating in the air.

Shin Mi-sik, a Korean documentary photographer who loves Madagascar, built four libraries for children in Africa. In order to protect children’s innocence and artistry, this time he want to convey music. With 50 ukuleles supported by a Korean cultural foundation, he leaves for Madagascar with composer Taehwa Jang and 14 volunteers. Although they are poor, they live with a positive outlook on life. The children, who find everything amazing, are absorbed in ukulele lessons and choir practice despite the hot weather. The beautiful performances and singing of a 50-member ukulele troupe and a 100-member choir resonate movingly at Trinity School, the beach, and Baobab Street in Morondava, Madagascar. Through the process of preparing for a ukulele performance with Madagascar children, we encounter the simple truth that the most beautiful gift to us is ‘music.’

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