Dong-uk Kim

"Stranger Than Paradise," vaguely associatively linked to Jim Jarmusch's wintery Eighties road movie, is a genuinely film-choreographed work: a hybrid, subtly futuristic chamber play for eight people and an investigative camera. Set in sunken moods and deceptive images, this dance film is an elegy that marks the transition from one species to the next. "Stranger Than Paradise" is a reflection of the systematic expansion of the human and animalistic into the mechanical and sometimes their hybrid existence. The body is obsolescent: it is still needed but the preparations for its abolition are in progress.

"Stranger Than Paradise," vaguely associatively linked to Jim Jarmusch's wintery Eighties road movie, is a genuinely film-choreographed work: a hybrid, subtly futuristic chamber play for eight people and an investigative camera. Set in sunken moods and deceptive images, this dance film is an elegy that marks the transition from one species to the next. "Stranger Than Paradise" is a reflection of the systematic expansion of the human and animalistic into the mechanical and sometimes their hybrid existence. The body is obsolescent: it is still needed but the preparations for its abolition are in progress.

Min-soo, a hearing-impaired boy, is gay and he likes his classmate, Ji-seok. One day, Min-soo impulsively has sex with a man who works in a public bath, an experience that lends him a new-found confidence, but at a heavy price.

As an old labor robot in a city factory within a gigantic dome causes an accident, it discovers a drawing tools. With the tools, the robot begins to draw everywhere it moves around. A lazy guard who takes care of, and watches the dome gets to see the robot's drawings.