This is an ongoing project in collaboration with my father. It exists within the tension between documentation and mythmaking—tracing the historical lineage of the 38th parallel partition and the ancient myths that foreshadow the longing from separation. The film is shot in two points, triangulating me and my father’s bodies; the geographical location of Panmunjom on the DMZ, a highly tourist place; and a remote island that holds they myth of the ginko trees.
The film follows my father near the border, the closest he has ever been since crossing the partition into the south as a child. During our marking, he expressed that he wanted to travel to the island so that we could capture both the mythologies and militarization of the everyday—marked by the performance of peace and sirens, dancing between the landmines.
