Uncompromising and shocking portrayal of the life of a French pimp and his wife exploited by him as a prostitute, who stay together in an almost post-apocalyptic post-industrial landscape. Shot on grungy Super-8. The first hour focuses on the everyday activities of the man and woman. They consume cheap food, watch TV and nasty porno, they receive customers and combat each other with psychological power games. Despite emotional numbness, the woman tries to escape. She makes friends with another woman, but then decides that returning to the man is the easiest option. The return of the other woman heralds the very shocking finale. Not for the squeamish.

Filmed at Hongjecheon in Seoul, Mokgamcheon in Gwangmyeong, and Gulpocheon in Incheon, the film captures the impressions of three streams in three different cities. Each of the three streams intersects and overlaps with images of the filmmaker’s own body.

Exhibition version of how surely gravity's law I

A trace of private observation and recording of another person's memory. This work is based on the video recordings of Lee Woo-jung's mobile phone. It is expected that the traces created by the method of repeated superimposition will create different layers of time and emotion. Through this process, the structure of other people's records gradually collapses, and I pay attention to the new structure that emerges from the pile of ruins.

Illuminating, magnifying, cutting, freezing the endless night and infinite music woven through the story with light.

I've tried creating a stop-motion animation of a story that begins with a camera and a toe human being, both physically incompatible, sticking their heads into each other's holes.

A man walks in the desert. Marks are made. He gets tired while walking. He touches the sand and rolls in it. He acknowledges the moment when he turns into sand.

"Emotional memories that had formed the ambiguous boundaries between reality and fantasy began to divide exactly in two, and at the same time there was no emotion left on either side of reality and fantasy." Chang Gyeong is the name of a palace in central Seoul - a palace that was turned into a zoo by the occupying Japanese.

My dog, who lived with me for 13 years, had never seen the sea in her life. I wanted to go to the sea and say goodbye to her through film, without knowing the existence of the sea.

A prelude on rewriting the history of pathosformel, in which fictional and real characters related to death are documented. One afternoon, a fictional character, Emilia, happens upon a second-hand bookshop. There, she finds an old, discoloured book of poems written by René Laurids Brigge that includes short notes about the death of 19-year-old Wera Ouckama-Knoop, who was a female dance performer. This film is relevant to the first part of the poems.

There is an astronaut who believes she is an alien. The illusion repeats itself. The repeated figure in her dream breaks down and scatters, and she feels devastated. The dead star becomes cosmic dust, and soon it becomes a new born star. The broken pieces stick together again.

The Choreographer and filmmaker have collaborated on the work under some rules. 1. To structuralize the movements such as behaviour, pose and gesture of the commonplace. 2. No to emotion. 3. No to style. 4. To study the condition of secrets to place the body. 5. Direct demonstration not depiction. 6. To equalize the strength of movements. 7. To ensure the initiate of movements independently that does does not contribute to the representation. We did shoot during the day, and collect the images of ordinary landscape without intention. Projecting the inappropriate images of reality in juxtaposition with side by side would lasts as the form where might be acquaintance rather than the image of metaphor.

A woman lying on the beach, her body subjected to the tide of the black and white film material and the lust of the material which grabs her, hides her and usurps her like some substitute object, a representation of the suppressed.

A Woman with a Movie Camera is the result of an experiment and an exploration on the 16mm film camera shooting, developing, and hand printing of her father.

This work is a sort of documented film of live performance with improvised communion with music as replacing the body of dancer into film.

Tales of the lovesick serpent “Sangsabaem” is a Korean folklore about a protagonist who dies from the pain of unrequited love and turns into a snake to express their suppressed emotions to the object of affection.

What is this incessant noise that keeps ringing? It sounded like the roar of the wind, the hum of passing cars, or the sea breeze sweeping through the streets. It felt unfamiliar. The lights of the night, the towering and intricate buildings illuminated by smooth LED surfaces, come alive, dancing with faces and bodies. Seoul is a whirlwind—a devouring maw, a cacophony, a rapid stream of images that leaves your senses struggling to find focus. And so, I set out to trace this intriguing sound. One of them comes from the roof of my home. It originates from the wind and evokes the repetitive beat of a drum. On se souvient des pas begins here. Through a geographic and temporal journey as the camera transitions from one scene to another, the film encounters Korea's history and traditions. This is a kind of journal—an attempt to grasp the essence of this land where I lived for ten months.

“I almost drowned when I was five on a family trip, but I don’t remember anything. I just knew it, because every time my family got together, they talked about it. A few years ago, I asked my family about this incident. I discovered that my mother had completely different memories than other family members. It’s the only (dance) sequence in the film.”

A man searches for memories of his family's past, alternating between Geomeunyeo, Buseok Temple, and his grandmother's house, all of which are located along a straight line on the map. Geomeunyeo is a rock located in the reclaimed area of Buseok, Seosan, South Korea. It was originally a reef that was exposed above sea level, but is now above ground. The name of Buseok, which means floating rock, is said to be derived from Geomeunyeo.

Conversation brings and changes the memory. Sometimes, it is a procedure that concludes upon certain memory. In this context, the way of conversation becomes methodology and theme at the same time. The process of conversation keeps repeating, and it is performed the way of conversation by using traces made during the repeating process, such as film, sound, and motion of choreographer. (Lee Jangwook)