SYNOPSIS
On January 20, 2009, a tragic event unfolded in Yongsan, South Korea, during a redevelopment project that led to a deadly standoff on a rooftop, claiming several lives. This documentary chronicles the individuals who stood in solidarity for a year, both on and off the rooftop, honoring those who perished. As they grieve their loss and eventually move on from the site of the tragedy, the film reflects on the collective experiences of grief, hope, and resilience during this tumultuous period.
£ªNo subtitle English.
REVIEW
Nestled just behind the site of the Yongsan Tragedy was a small bar named "Pub rhea." In the wake of the tragedy, this unassuming venue became a crucial hub for activists, cultural figures, and artists dedicated to supporting the ongoing struggle and preserving the memory of the event. Yongsan, Expression in 337 Ways: rhea is an omnibus project that compiles the video works of media activists from the "Candlelight Broadcasting Station rhea," based at this location. The film vividly portrays everyday life in the aftermath of the tragedy, capturing how the bereaved families and those in solidarity continue to eat, pray, and live, even amidst ongoing trauma and state violence. Beyond documenting the tragedy and its direct victims, the film includes the broader community—neighbors, clergy, and artists who played crucial roles. The "Candlelight Broadcasting Station rhea," central to the film¡¯s subtitle, serves not only as a setting but also as a subject and protagonist, underscoring its role in the narrative of resistance and remembrance. This project initiated a practice that later expanded to other significant sites and communities in need of solidarity, demonstrating the power of grassroots media in preserving important social histories.
DIRECTOR'S NOTE
Three hundred and forty-five days after the Yongsan Disaster, the conflict between the Yongsan District 4 Redevelopment Association, the bereaved families, and the evictees was declared "dramatically resolved." For nearly a year, the mainstream media's coverage of the tragedy focused solely on the alleged violence of the evictees, while those on "this side" were preoccupied with exposing and responding to the violence of the police and hired enforcers. At the same time, there was a growing desire to capture and share the everyday lives that seemed to have lost their "normalcy" in this place. This work, created within the scope of these ongoing efforts, seeks to give meaning to the days that bridged the tragedy and the so-called "dramatic resolution."