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“尹锡烈执政的五年将是苦难的深渊。” 这位神父的话语如同预言般席卷全国， 最终导致2024年12月3日宣布戒严。 “政治看似是政客在做，但归根结底，是人民在做。” 人民手握最珍贵的加油棒， 奋起捍卫民主。 于是，“光明革命”拉开帷幕， 那些无法亲身参与的人 也以各种方式加入其中，例如寄送预付卡和暖气巴士。 随后，弹劾案和随之而来的第21届总统选举！ 喜悦转瞬即逝。一年过去了！ 内战真的结束了吗？

暂无英文版的简介，请添加内容帮助我们完善数据库。

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Seol-ah (18) works at the Afterlife Photo Studio, where the dead come to take one final photograph before moving on. One day, while developing the portrait of a girl named Na-ye (16), she discovers the print has turned completely black. Nothing in the manual explains it. She brings it to her supervisor Jeo-cha (19), who shows her Na-ye's past. Na-ye was taken by Japanese forces during the colonial period. Her life was stolen from her, and she spent the rest of it in pain. Though she died long ago, history never acknowledged her — leaving her caught between worlds, unable to truly pass on. Seeing Na-ye's past, Seol-ah is also confronted with her own: the memory of a friend, Su-ha (18), who was bullied — and whom Seol-ah silently ignored. Consumed by guilt, she makes a decision. She will not make Na-ye wait any longer. She burns the afterlife manual and breaks the rules, sending Na-ye through to paradise. Na-ye thanks her and steps through the gate. Seol-ah goes to find Su-ha and apologize. Then she returns to the studio and gets back to work — taking last photographs, one after another. If a print comes out black now, she no longer hesitates. And so, she remains at the studio.

This documentary, [The Grand Discourse] was planned as one of the series. This film is the first one of the series and the record of the progressive politicians and personnel for nine months since March, 2011. The director also interviewed some “rational conservatives” as “issue makers” since he believed that a real progressive in Korea should answer the questions from “rational conservatives.” I had no interest in political issues until now. My only political action was voting in presidential or parliamentary elections. As I become a father of two children, my view on the world has been changed. Now I have a father's responsibility that I should turn a better world over to the next generation including my children. My real first political action is this documentary. After the politics changes, our life will be able to change. This is why I should keep making this political documentary series of [The Grand Discourse] from now on. Most of the politicians in this documentary felt strange since the interviews had a format of a documentary. No wonder, it was not a short interview from a broadcasting station, but a two or three hour long interview with a stranger. However, at the end of the interview, most of the politicians needed to postpone the time, and in fact, some of them asked additional interviews. I thought that even though they were surrounded by “words” all the time, they lacked and were thirsty for a frank and rational conversation. This film is the consequence from the communication and communion between the director who has been a layperson in politics and the politicians. They started from strangeness but met at the crossroad of “common sense” and “reason.”

《林以焕的民歌大提琴（MINYO CELLO）》呈现了林以焕独特的超前于时代的作品世界，包括 韩国传统音乐、西方传统乐器和现代乐器。通过这次演出，我们希望通过五把大提琴和一支乐队的音乐重新诠释韩国民歌，向观众传达超越世代和时代的广泛同情。