Synopsis

HanaH, who obsessively attaches importance to the value of the good(善), descends from the (image of) heaven : idea to earth : reality as she discovers the hypocrisy in the world she lives in. In the process of falling, she goes through abortion surgery, that is, accepting death and returning to the origin - the state of nothingness(無). Returning to an empty body, HanaH stands again in front of a world that has become meaningless. On the empty canvas, HanaH paints a red old tree. She takes root in the earth through an image of the tree. Even though she lost her leg to go up to a higher place, she exists as the snake closest to the ground(life).

Director's Comment

HanaH dreams a beautiful dream. In the dream, HanaH becomes an image of a flower, the eternal youth and pure beauty. Her purism begins from a dichotomy between beauty and deformity, but the conflict starts when HanaH's hysteria is occured, by the fact that the world is complexly intertwined like an organism, and cannot be seperated and dissected like a dead subject. She wanders in the gap that the flowers bloom but fall, that a full vitality eventually ends as a dead body, and that we find truth in the space of excretion. When she wakes up from a dream, she returns to the blank canvas. In front of the canvas, she faces the question : Can I dream again? The new image that she paints becomes the mirror reflecting HanaH's past. During the act of drawing, HanaH empties everything out of herself, washes away the grime and the sin, and confesses that here and now, in the most shameful form, she exists. She shed her tears like a baby and finally blesses her existence. She comes out of her mother's womb and HanaH reborns. The new birth will have a new dream.

Staff

Producer/Scenario/Storyboard/Character/BG/Lay Out/Animation/Camera/Effect/Editing AN Hyunjung

Sound KIM Dongwook

Music HAN Minhee

Voice KIM Soonmi, LEE Noonsol, PARK Kiwook, LIM Jooyoung

Recording CHOI Woojae, KIM Taeyong

Detailed description

A complex story of the inner mind is revealed by contrasting colors and symbols—red and turquoise, life and death. Like a snake shedding its skin, “HanaH” erases a part of herself. Her painful experiences allow her to set out on a path of transformation and restoration. Perhaps her wish to paint a true picture was ultimately a longing to understand herself and recover the vitality of life. And perhaps her desire has finally begun to quietly take root beneath the old red tree.

KIM Kyeongbae