서울국제여성영화제

The figure in the trailer gazes at images in a praxinoscope—flickering pictures that heralded the birth of cinema, the earliest images brought to life through trembling rather than smoothness. Yet advancing technology has gradually erased this trembling from images, producing ever smoother and more perfect screens. Now, the desire to correct and refine extends beyond the screen to the human face and body, and even to our emotions.

The typewriter stamping out sentences represents a prompt that commands perfection, while the television and CCTV cameras watching the figure embody the gaze of a system that detects and judges errors. In a space where old analog devices overlap with contemporary technology, the figure finally destroys with her own hands the screen that has reflected and refined her.

Through FLICKER, I sought to portray a human counterattack against an age that demands perfection: an effort to protect unretouched faces, uncontrolled emotions, and the Freedom to fail—and the vitality that refuses, in the end, to disappear. (Kim Mi-jo)