This film, by a promising new media artist, PARK Kyung-keun, begins with a boy’s letter to his grandfather who ran a junkyard during the Japanese colonial period. In order to find the reason of the nightmare that has oppressed him since his childhood, the director scours the metal workshops found in the backstreets of Cheonggyechon, Seoul. The director digs into his grandfather’s past, who had moved back to Korea after the liberation, and in doing so, the roots of modern Korean history. Delivered in a letter-style narration, it suggests the shock of the Korean modern history is no other than the nightmare continued through the descendant’s body. The afterimage of Korea’s fast industrialization, the rusty and worn-down machines in the workshops may be society’s nightmare which wants to be forgotten. The experimental approach of the film sheds new light on the lives of mankind by depicting the story from the perspective of the ‘metal.’ Through this, the story commands our attention to ruminate over the reflected image of ourselves. This artistic portrayal could be the new experiment of Korean documentary genre. (HONG Hyosook)