Yoonseo Lee 

The video on the left is made of scenes that represent love in the cinema language. How do you express love in a cinema when its nature is ‘show, not tell’? Instead of saying “I love you”, they constantly stare into each other's eyes (Beau Travail), give presents to each other (Mädchen in anomaly, DEBS), confess one’s secret love affair in the hole from the temple wall and then covering it(In the mood for love), put shoes on others feet(Thirst, Stoker), sexual love shown in the form of sadism/masochism and violence(Firework, Titane), physically break things that oppress other(The Handmaiden), and archive the memory of love(Portrait of a Lady on Fire, Love Letter, After Sun). What can be read in a video compilation without any colloquial explanation is not a horizontal plot, but a sense and feeling of love, that is, affect (情動). Love lets us give gifts, leave records, and be mercilessly violent. 

Text on the blue screen, which alternately appears with the image, is edited by revising the poem. The narrator takes a journey home and experiences things that cause the body to wince- hands with holes, people who look dead but not, unpleasant flight with no guaranteed safety. There are situations that constantly fail the narrator. In this terrible irony, what the speaker desires is love. "I want to write things that I remember about you”,  but they can't because there are too many holes in their hand. 

What synergy occurs through the intersection of video and text? What they have in common is that there are people who take a detour to their destination. Calum from After Sun in the last shot stops recording with his camcorder, turns around, saying goodbye in an alternative space while the text on the right side talks about the impossibility of writing about the person that they love. After the journey of detour, the characters and speakers fail to reach their goal. The video ends first then the text ends later. While consuming both at the same time, time difference occur in the space.