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。

暂无英文版的简介，请添加内容帮助我们完善数据库。

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.

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.

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……

Ji-woo is all dressed up and ready to attend Jjang-ah’s birthday party. While waiting for her personal care assistant Mi-sook, she’s notified that Mi-sook can’t make it due to another urgent matter. Unfortunately, Ji-woo, who rides a wheelchair, can’t make it to the party without assistance. In the midst of this dilemma, she happens to run into her friend Ah-ja, who is playing at a claw machine. Ji-woo persuades a seemingly unoccupied Ah-ja to fill in as her personal care assistant for the day. Will the two of them be able to arrive at Jjang-ah’s house.

After surviving child abuse and the collapse of her marriage, Yeonok confronts the time that had stood still as she clears out her ex-husband's room. By day, she sells a book at a book fair documenting her marriage and its aftermath. By night, she explores desire and sensation through consensual BDSM practices, while questioning whether the control she has reclaimed over her body could become another form of violence. During a Shibari performance on stage, she faces the audience's gaze, suspended within that question.

Daji, a small person, decides to trouble the giants who are destroying nature and tormenting the small folk. Will Daji’s acts of terror succeed? You’ll be surprised by the whimsical imagination and charming humor that brings to mind Gulliver’s Travels. It’s disheartening that the world of giants is one where they can’t hear the small people’s cries to “Save us.”

暂无英文版的简介，请添加内容帮助我们完善数据库。