In the 1950s, a group of Parisian elite, led by experimental film director Chris Marker and documentarist Claude Lanzmann, visit the newly-formed DPRK(Democratic People’s Republic of Korea). It is the communist state to which the director’s grandmother had pledged allegiance during the Korean War. The film explores transnational identity and its ruptures from multiple perspectives through the intersection of ciné-roman and diasporic essay film.

opens and closes with a mother's dream, using water as a metaphor for boundarylessness. The film navigates multiple borders, juxtaposing diverse perspectives on the pre and post Korean War era. The director weaves a personal narrative by intertwining her mother's 70-year-old memories, Lanzmann's accounts of North Korea visits, and the tale of Moranbong, une aventure coréenne (1958), the first and last co-production of France and North Korea. This tapestry of family history is crafted through a blend of public archives, reenactments, performative elements, and essayistic approaches. Stepping away from the gravity often associated with post-war historical narratives, the film ponders fundamental questions of storytelling, on how to narrate, from which viewpoint, within what framework, using what language and which voice.

2024 제17회 DMZ국제다큐멘터리영화제