The Korean Peninsula, June 2000. The Inter-Korean Summit generates great expectations for unification. In Kawasaki, Japan, similar anticipation is brewing; Reverend Lee In-ha, having devoted his entire life to the Koreans residing in the Japanese community toasts with his followers: Roh Eun, who not having seen his family in fifty-three years dreams of being reunited. As well, Lee Yong-gyu, a third generation Korean, attending Meiji University, restores confidence while attempting to find his identity. The bonds of solidarity that this film portrays are not limited to Korean-Japanese citizens, but rather extend to others as well. An example of this extension can be seen with Elise Foxworth, an American who travels to Japan to study Korean citizens residing in Japan, who over time have become a part of Japanese literature. Elise Foxworth is filmed by Inokawa Izumi to capture this modern Japan. While experiencing humane connections, Japanese residents of different ages, ethnicities, and across gender lines, seek a point of contact with the Koreans residing in Japan. Increasingly, this film evolves into a piece, which works to investigate and uncover the meaning of politics, without being politically explicit. Maintaining focus on life itself, gazing warmly at the lives of humans, and stimulating the audience’s sympathy, this work illustrates much of life’s fragments in modern times in a strong, personable, and convincing manner. (Hong Hyosook)