Kim Lyang

Grégoire Canvel has everything a man could want. A wife he loves, three delightful children, and a stimulating job. He's a film producer. Discovering talented filmmakers and developing films that fit his conception of the cinema-free and true to life-is precisely his reason for living. Yet his prestigious production company, Moon Films, is on its last legs.

KIM Dong-ho is the founder of the Busan International Film Festival and one of the key figures in the rise of Korean cinema. Starting his career as a civil servant, he dedicated his whole life to the sheer passion for films. With his deep commitment and instinctive creativity, he will keep “walking in the movies.”

A documentary that deeply focuses and visits the trauma of Korea's modern history for 70 years through the life of a father whose family was indifferent.

How do these people live, how do they endure the confinement and pain of the country's borders ? Under the splendor of the landscapes we can feel the constant threat of a cold war In the heart of Caucasus. The villagers have learned to live with the sound of reports, while knowing that the next bullet may be for them. Scenes from ordinary life, in a country where the threat of war may never be forgotten: yet a feeling of life prevails: resident forever, forever. This film talk about the current state of the world and humanity with respect to imposed violence, in a set of border areas.

The director, who herself comes from a family near the Demilitarized Zone (DMZ) between North and South, explores an issue largely forgotten between the Korean War and current tensions: In the 1960s, North Korean refugees were settled here in houses provided by the Park Chung-hee dictatorship for propaganda purposes. For decades now, they have lived along the line of confrontation. The most personal border zone runs through their houses, where individual history and collective memory meet.

KIM Dong-ho is the founder of the Busan International Film Festival and one of the key figures in the rise of Korean cinema. Starting his career as a civil servant, he dedicated his whole life to the sheer passion for films. With his deep commitment and instinctive creativity, he will keep “walking in the movies.”

KIM Dong-ho is the founder of the Busan International Film Festival and one of the key figures in the rise of Korean cinema. Starting his career as a civil servant, he dedicated his whole life to the sheer passion for films. With his deep commitment and instinctive creativity, he will keep “walking in the movies.”

A documentary that deeply focuses and visits the trauma of Korea's modern history for 70 years through the life of a father whose family was indifferent.

How do these people live, how do they endure the confinement and pain of the country's borders ? Under the splendor of the landscapes we can feel the constant threat of a cold war In the heart of Caucasus. The villagers have learned to live with the sound of reports, while knowing that the next bullet may be for them. Scenes from ordinary life, in a country where the threat of war may never be forgotten: yet a feeling of life prevails: resident forever, forever. This film talk about the current state of the world and humanity with respect to imposed violence, in a set of border areas.

The director, who herself comes from a family near the Demilitarized Zone (DMZ) between North and South, explores an issue largely forgotten between the Korean War and current tensions: In the 1960s, North Korean refugees were settled here in houses provided by the Park Chung-hee dictatorship for propaganda purposes. For decades now, they have lived along the line of confrontation. The most personal border zone runs through their houses, where individual history and collective memory meet.

The director, who herself comes from a family near the Demilitarized Zone (DMZ) between North and South, explores an issue largely forgotten between the Korean War and current tensions: In the 1960s, North Korean refugees were settled here in houses provided by the Park Chung-hee dictatorship for propaganda purposes. For decades now, they have lived along the line of confrontation. The most personal border zone runs through their houses, where individual history and collective memory meet.