10th DMZ Docs(2018)
I AM DOCU
The once-busy 'rendezvous house' for unconverted long-term prisoners is now resided by two prisoners in their 80s, who cannot return to North Korea as they have been forcefully converted. I meet Park Heesung, one of the remaining prisoners, whose aspiration was to become a director of cinematography. As I give him a camera and teach him how to film, he starts filming his daily life.
Is the everyday life of a politician private or political? This film is a record of the time spent with an unconverted long-term political prisoner. The camera observes the elderly man at his home and then makes a transition upon discovering that he used to dream of becoming a cinematographer. He learns to use the camera from the director and the images he shoots are shown across the screen. The collaboration between him and the director continues. The elderly man’s camera sometimes ventures outside to film the protest for the release of prisoners of conscience, but is at its most effective when filming small things around the house such as flowers that have bloomed overnight and clips on the clothesline. He then brings the camera to himself and records a video message for his son whom he left behind in North Korea. Though he is aware that his son is nearly 60, he remembers him as a baby aged 1 year and 4 months. The camera provides a point of intersection between what we can and cannot see, what we can and cannot film and ultimately what is absent and what is present. [KIM Sohee]
The Joke (2011)
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