서울국제여성영화제

At 24, Seoyun is diagnosed with premature menopause. While dating, marriage, and childbirth all feel far off, what troubles her most are the daily fluctuations in body temperature, unexplained fatigue, and relentless insomnia. As she approaches graduation—out of sync with the life cycle expected of her peers—Seoyun begins to seek out other women with the same diagnosis, hoping to finally face herself. 

Six months before aging out of the care system, Woohyeon (19, male) dives into the river to salvage lost items and make money, hoping to secure a deposit for a home he can share with his childhood friends Jeongmin (19, female) and Eunsoo (19, male). One day, while searching the murky waters—never knowing what might turn up—he pulls out something money can't buy: a seven-year-old child named Bobae. As his friends prepare to go their separate ways, Woohyeon decides to hold on to Bobae in a desperate attempt to keep them together. "If we return her… do you think we'll get a reward?" Where will Woohyeon's dangerous talent ultimately lead him?​

Following Gilnyeo and Hallakdaegi as they grow into their roles as female street performers known as "kkakseoli," the film explores the continuity of Korean subculture from past to present through Pumba, a traditional performance art that gives voice to those on the margins. 

Jongsu (56), a Korean man, visits his wife Yuli's (29) family in Indonesia for the first time, ten years after their arranged marriage. Having once taken Yuli's passport and kept her under strict control, he now finds himself increasingly powerless amid unfamiliar customs, the sweltering climate, and a crumbling family hierarchy. When their daughter suddenly falls into an unexplainable coma, Yuli's family secretly performs a traditional healing ritual without Jongsu's knowledge. The next day, their daughter miraculously recovers, but begins speaking in the local language. Overcome with fear and distrust toward his in-laws, Jongsu spirals out of control. When his son shows similar symptoms, Jongsu flees, only to be haunted by terror and visions that force him to confront his past wrongdoings. At last, standing before a ritual meant to save his son, Jongsu realizes it has all been a search for a sacrificial offering. 

At 57, Seongmi is left alone after seven years of caring for her mother with dementia. Following a divorce, the closure of her business, and even a possible bladder cancer diagnosis, she has lost nearly everything. Just then, Huija—a close friend who left for Japan 30 years ago—suddenly reappears. Accepting Huija's invitation, Seongmi sets off on her first-ever trip abroad. But things aren't quite as she imagined. Huija's life seems far from stable, and Seongmi soon discovers that Huija is barely getting by through an illegal matchmaking business that pairs middle-aged Korean women with elderly Japanese men. Could she have brought me here as part of that? Suspicion turns into certainty, and Seongmi begins packing her bags. But when Huija gets into trouble, Seongmi decides to delay her return.

My maternal grandmother, Yoon Yeongja, a shaman, now resides in a nursing home due to dementia. As the family prepares for a final ritual to clear out her now-empty shrine, a fellow shaman who was once her disciple leads the ceremony. During the ritual, my grandmother recalls the past, speaking of the pain of spirit possession and the story of our family. Though her memory fades, her words and gestures remain as traces of a life not yet forgotten. 

Jihoo, a forensic reconstruction artist, is tasked with restoring the appearance of an ancient human whose remains consist only of an upper torso skeleton. One day, in the midst of her work, she experiences a strange phenomenon—the long-dead bones seem to come alive before her eyes.