We don't have an overview translated in English. Help us expand our database by adding one.

We don't have an overview translated in English. Help us expand our database by adding one.

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.

We don't have an overview translated in English. Help us expand our database by adding one.

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.

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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.”

1996년, 남한으로 침투한 무장공비 26명 중 1명을 제외한 25명이 우리 국군의 작전으로 생포 또는 소탕되었다. 　　그러나 마지막 한 명의 남파 공작원만이 살아남아 도주한다. 　　그를 생포하기 위해 투입된 이는 ‘유령’이라 불리는 HID 북파 공작원. 　　과거의 흔적조차 남기지 않는 비밀 작전의 대가로 알려진 그는, 마지막 남은 무장공비를 쫓기 시작한다. 　　아이러니하게도, 남한의 유령은 공산권의 AK-47 소총을, 북한의 무장공비는 자본주의의 상징인 M16 소총을 들고 서로를 겨눈다. 　　두 사람의 치열한 추격전은, 결국 상대방의 총기를 쥔 채 숨막히는 사투로 이어진다.