The relocation of an American Armed Forces base has put the very existence of a small town in Gyeonggi Province at risk. <Tour of Duty> records the lives and memories of a group of women who are spending their later years in the area. The Korean government created the town for its own purposes and eventually forced the prostitutes working there to Other status. With the town now being erased by the same government the women have been as good as abandoned. Standing still and gazing at two old women as if to remember them as they are in the present, the camera brings us into a past that consists of only memories; the film weaves space and time around each other, present and past, and personal and collective recollections, like a Mobius strip to create a sorrowful yet beautiful cinematic space. In a sense, this creation of space-memory serves as cinematic resistance to the politics of oblivion contrived by the regime or to the thorough and tenacious process of making others the Other. (BYUN Sungchan)