Writer
Un hombre en el corredor de la muerte quiere probar el "doenjang jjigae" (un estofado picante de pasta de frijoles coreanos) antes de morir. El productor de televisión Choi Yu-Jin (Ryoo Seung-Ryong) se entera del recluso e investiga su historia para un próximo informe de noticias. Choi Yu-Jin luego se encuentra con una mujer misteriosa llamada Jang Hye-Jin (Lee Yo-Won) que hace doenjang jjigae que hace llorar de alegría a quienes prueban su receta. A medida que Choi Yu-Jin profundiza, se entera de la relación desgarradora de Jang Hye-Jin con Kim Hyun-Soo (Lee Dong-Wook).
Director
Un hombre en el corredor de la muerte quiere probar el "doenjang jjigae" (un estofado picante de pasta de frijoles coreanos) antes de morir. El productor de televisión Choi Yu-Jin (Ryoo Seung-Ryong) se entera del recluso e investiga su historia para un próximo informe de noticias. Choi Yu-Jin luego se encuentra con una mujer misteriosa llamada Jang Hye-Jin (Lee Yo-Won) que hace doenjang jjigae que hace llorar de alegría a quienes prueban su receta. A medida que Choi Yu-Jin profundiza, se entera de la relación desgarradora de Jang Hye-Jin con Kim Hyun-Soo (Lee Dong-Wook).
Herself
Keeping the Vision Alive is a documentary film containing the voices and images of Korean women filmmakers-both senior filmmakers and also the peers of director Yim. The film is Yim’s homage to both contemporary Korean women filmmakers, written by a filmmaker of the same age, and also to the history of women filmmakers in Korea. Yim does not reveal her own voice or opinion and lets the voices and images of the filmmakers speak for themselves through a non-interventionist camera. From the pioneers, Park Nam-ok, and Hwang Hye-mi, who directed First Experience in 70’s, to recent filmmakers, Byun Young-joo and Jang Hee-sun, the film traces their experiences, troubles, concerns and thoughts as women and women filmmakers. Keeping the Vision Alive calmly and enthusiastically encourages and celebrates the struggles, the resistance and the survival of women filmmakers in a conservative Korean film industry and a male-dominated and sexist social system. (Kwon Eun-sun)
Writer
In 2028, cartoonist Han Cho becomes obsessed with his neighbor, an assassin named Nana. He professes his love for her but she remains indifferent. By accident Han Cho finds an amnesia-inducing drug which he uses to spike Nana’s drink. With her memory blanked out, Nana is told that she is Han Cho’s girlfriend.
Director
In 2028, cartoonist Han Cho becomes obsessed with his neighbor, an assassin named Nana. He professes his love for her but she remains indifferent. By accident Han Cho finds an amnesia-inducing drug which he uses to spike Nana’s drink. With her memory blanked out, Nana is told that she is Han Cho’s girlfriend.
