If damages to the film derive from natural disasters, the damages to the memory derive from repressed history. As this is the case, their restoration will be two qualitatively different processes. Yet, the distorted images caused by film damage refresh a social memory and the contents of the film create irony in the status of the historical memory. When you place the photographs in water to separate the pages stuck together by flood it can melt the images that could be recognized, so a way to present them is by scanning the stuck photographs as is after increasing their transparency. Interviews of people who were filming the strikes of 1980’s, the images of strike against turning workers into non-regular workers from the Newscham Archive, and the scenes shot by the director arrive in their own form, each at the risk of suffering damage. However, these images, like the photographs that have been increased in transparency while being stuck back to back, imprint upon us like a single image of Korean society. When the countdown in the ending credit reaches 0, the hierarchy produced in the name of democracy─that memory of the failed time─is brought to an end and we can no longer immerse ourselves in it. The countdown leading us to the end of the film firmly carries us to the time of the beginning.​