Cho Hee-soo

1990, Jeollanam-do. Twelve-year-old Iri trades a Coca-Cola mixed with bleach with a blue-eyed monk from Germany, believing it will let her die with her terminally ill twin, Chowon. Iri doesn't know it's a staged act by her shaman mother losing her divine power. But three months later, it is not Iri who dies, but Chowon. 2008, Berlin. studying abroad in Germany, Iri becomes an assistant writer and discovers an unfinished novel depicting a romance between the late Chowon and the blue-eyed monk. For the first time in 18 years, it is not Iri who asks the question—he does. "Why did you kill Chowon?"

"Young contemporary history and young tumors resemble each other — both parasitize my prime years." The malfunction of both state and body passes endlessly through the MRI scanner under the diagnosis of a prologue without a main plot. A single film never begins; instead, opening scenes pretending to be from different films repeat schizophrenically. This anxiety, named the invasion sense, constructs a complete reality through unexecuted directives — unrealized wars, uncured illnesses. The film paradoxically addresses a present in which, even without a main plot, anxiety itself constitutes a world, suspended between fiction and reality.

In 2050, the Republic of Korea has become the country with the largest number of illegal immigrants. Detective Genie is chasing after the ‘Yellow Flock’, a criminal organization run by unregistered children. But the more she pursues these children who have become ghosts even though they are alive, the more she comes face to face with her own childhood.

1990, Jeollanam-do. Twelve-year-old Iri trades a Coca-Cola mixed with bleach with a blue-eyed monk from Germany, believing it will let her die with her terminally ill twin, Chowon. Iri doesn't know it's a staged act by her shaman mother losing her divine power. But three months later, it is not Iri who dies, but Chowon. 2008, Berlin. studying abroad in Germany, Iri becomes an assistant writer and discovers an unfinished novel depicting a romance between the late Chowon and the blue-eyed monk. For the first time in 18 years, it is not Iri who asks the question—he does. "Why did you kill Chowon?"

"Young contemporary history and young tumors resemble each other — both parasitize my prime years." The malfunction of both state and body passes endlessly through the MRI scanner under the diagnosis of a prologue without a main plot. A single film never begins; instead, opening scenes pretending to be from different films repeat schizophrenically. This anxiety, named the invasion sense, constructs a complete reality through unexecuted directives — unrealized wars, uncured illnesses. The film paradoxically addresses a present in which, even without a main plot, anxiety itself constitutes a world, suspended between fiction and reality.

In 2050, the Republic of Korea has become the country with the largest number of illegal immigrants. Detective Genie is chasing after the ‘Yellow Flock’, a criminal organization run by unregistered children. But the more she pursues these children who have become ghosts even though they are alive, the more she comes face to face with her own childhood.

In 2050, the Republic of Korea has become the country with the largest number of illegal immigrants. Detective Genie is chasing after the ‘Yellow Flock’, a criminal organization run by unregistered children. But the more she pursues these children who have become ghosts even though they are alive, the more she comes face to face with her own childhood.