Around two o'clock in the afternoon at the park, a woman is reading a book on a bench. Meanwhile, a bird flies on a tree, the clouds cover the sun, a cat grooms itself, the waterwheel spins, pigeons rest on the pavement, a man loiters in the corner of the lawn, a butterfly flutters from flower to flower, the fountain gushes, carps swim in the pond, and ants go about their business.

In filmmaking, I have always endeavored to find the means to remove distance between subject and object, namely, striving to abolish the first-person perspective and find a meeting point where both beings that are in front and behind the camera merge. I believe such a longing stems from the desire to perceive the world as it is, where there is no hierarchy among all things and no distortion of sensation by the human-centered concept. In this realm, phenomena manifest themselves on their own, all entities becoming verbal instead of remaining as nouns, existing not separately but through relations. In turn, objects that are free from artificial intervention are re-recognized as pure images and placed in a new dimension. The flattened space-time, seemingly nullified, transcends both the finite and infinite, expanding the scope of human cognition narrowed by ideas. The author of the poem that this film adapts, the late Korean post-modernist poet Oh Kyu-won(1941-2007), specified such an approach to discerning reality in his poetics as seeking the "transparent image." I hope this film is in parallel with his vision.

2024 제29회 부산국제영화제