The Making of 'I Am Sun Mu' – an Interview with Director Adam Sjoberg
Filmmaker and photographer Adam Sjoberg has been working for the last two and a half years on a new documentary about our friend and renowned resettled North Korean artist Sun Mu. The film, titled I Am Sun Mu, follows Sun Mu as he prepares a new exhibition. We have known Adam for a while—he directed Danny From North Korea—but he is also known for previous works such as Shake the Dust and many other internationally-recognized films.
Check out our interview below with Adam on his most recent documentary.
When did you begin working on I Am Sun Mu?
Justin Wheeler introduced me to Sun Mu in January of 2013. We had dinner and discussed the possibility of doing a documentary about his life and work. Because Sun Mu can’t show his face and has to go to great lengths to protect his identity, he was understandably careful about getting involved in a feature film about his life. However, because of the long-term relationship he’s built with LiNK, and my approach to filmmaking, he decided it was a good partnership. I’m super thankful that he said yes. A year after we initially met, he was invited to China to show his work in a solo exhibition. This was an unprecedented event for a North Korean artist—and a bold decision on the part of the curator. I decided this was a perfect opportunity to film him and use the exhibit as a narrative arc with which to tell the rest of his story.
What was your favorite part of the process?
The whole filming process has been a joy to work on. I loved some of the quieter moments of filming it when it would just be Sun Mu and me in his studio. He would be painting or working away on a piece, and I would just be a “fly on the wall” filming. That collaborative effort was really inspiring. I’ve also loved working with a team of creatives that are so talented. Mariana Blanco, our editor, has been crucial to getting the film completed. Ryan Wehner has been making some beautiful animations of Sun Mu’s work that really help bring Sun Mu’s back-story to life. And composer Joel P. West has been working on a unique and beautiful thematic score to round out the film. I love working as a team with people that inspire me.
What are some cool things you learned while you filmed?
There has been so many things that I’ve learned. I already had a basic knowledge of the history of the Korean peninsula, but I’ve learned even more about it—as well as the nuances of the Kim’s rule and influence on every portion of North Korean life. Hearing Sun Mu discuss his life in North Korea, as well as his process of “un-brainwashing” after he left was fascinating. But most importantly, developing a friendship with Sun Mu over the last two years has helped me see past the politics and stereotypes surrounding the issue. Part of the beauty of Sun Mu’s paintings is that they don’t sit in any particular political space. He misses his homeland and longs for a more idealized, free North Korea. His work reflects his torn heart: He is not North Korean or South Korean. He’s simply Korean, which is why so many of his paintings focus on the idea of reunification, which is often seen as an archaic solution to the future of the two Koreas. But I don’t think he’s painting about reunification because he’s sure it will happen, only that he hopes it will.
What was most challenging for you with creating the documentary?
I don’t want to give too much away, but things did not go as expected at Sun Mu’s exhibit. That created safety and security challenges. Beyond that, making a feature-length film is a tough job. There are so many parts of Sun Mu’s life that I wish I could tell. The more I filmed him, the more I wanted to include. But in the end, you have to decide what stories push the overall narrative forward and keep people interested. It was tough to lose some scenes, but there are always DVD extras!
Do you have a favorite scene?
Can I pick two? My favorite is probably a scene where Sun Mu describes the day he escaped. It’s mostly a compilation of his paintings brought to life with animation. Afterwards, Sun Mu sings a song while playing the guitar that he used to play back in North Korea. Another favorite scene is of Sun Mu painting with his daughters. He then describes a couple of paintings he made of them—one of which is of his oldest daughter holding a “letter that cannot be sent” to her grandmother. It’s powerful.
Why do you create documentaries? Why did you choose to do this one in particular?
I create documentaries because I have a passion for helping people tell their stories. I love the genre because of how it opens up people’s eyes to the world. Ever since getting involved with Liberty in North Korea back in 2010, I’ve been interested in this issue. The crisis in North Korea is often overlooked, thought of only in terms of its politics, and is considered by many to be a complicated “cause” in which to be involved. I’ve worked with commercial brands that haven’t wanted to align themselves with LiNK because their manufacturing is in China. But it’s one of the greatest ongoing tragedies in the world today—and I’m proud to be associated even a little bit with what LiNK is fearlessly doing.
Who is this documentary for?
Hopefully it’s for everyone. We tried to make a film that is not just about North Korea, but about a person—an artist. It has a little bit of everything in it: a few laughs, a story of family, a story of escape, and a story of an artist trying to make it. Sun Mu is a very poetic person, and so I think people will be drawn in by his narrative.
What are you most excited for people to see in the documentary?
The climax of the film is pretty exciting and emotional, but I’m most excited for people just to get to know Sun Mu.
Why should people watch this? Why is this important?
As I’ve mentioned above, this is an issue that is often only seen in the media regarding it’s politics, or else in comedies or shock-docs. I want people to see a more human side: to not walk away thinking of the Kims, but of the many people in North Korea who live under one of the most oppressive regime in the world. Not just of their plight, but of their potential.
Where/when can someone see the documentary?
There will be a website up soon with more information. It will take some time before we secure international and domestic distribution. Stay tuned to what LiNK is doing. We’ll try to keep everyone in the loop once it’s out for the world to see!
UPDATE: January 2017! We're excited to announce that I Am Sun Mu is now available on Netflix, iTunes, Amazon, YouTube, and other video on demand platforms! Watch it, rate it, and share!
Want some of Sun Mu's art for your home? Check out the Sun Mu canvas prints on the LiNK Shop!
North Korean Defector Economist: How We Analyze North Korea Needs to Change
By: Maria Stella
Maria is a PhD student at the Department of Economics at Korea University, specializing in theoretical economics. Her primary area of interest is developing theoretical models of the North Korean economy. She’s been a participant of the LiNK’s English Language Program since 2022.
When I think about my past, I often feel a great sense of loss and sorrow for the people I left behind in North Korea. As a PhD student studying North Korean economics here in South Korea, I feel a strong desire to use my research to help improve the lives of North Korean people. In many ways, helping those I left behind also gives meaning to my own journey.
Whenever I watch the news or read academic papers on North Korea, I feel saddened by the way North Korean people are discussed and represented. Over time, I have come to believe that the way we analyze North Korea needs to change.
I believe there is a fundamental limitation in existing research on the North Korean economy, as much of it has traditional socialist planned economy analysis. Earlier studies have suggested that North Korea would either collapse or undergo a system transition as other socialist countries have done. However, after the breakdown of the Public Distribution System (PDS) in the mid-1990s and the emergence of the shadow economy (including through the Jangmadang—illegal markets), these approaches began to reveal their limitations.
As a result, the North Korean economy came to be understood not as a simple planned economy, but as a mixed economy in which state control and market activities coexist. However, these studies do not sufficiently explain why the North Korean regime allows marketization to persist at a certain level instead of completely suppressing it.
In order to explain the interaction between the government and ordinary North Korean citizens, who are the primary actors in Jangmadang activities, I divide the North Korean system into three groups: the regime, the elites, and ordinary citizens.
In particular, elites are important economic actors because they function as intermediaries between the regime and the people. My argument is that this phenomenon can be better understood by analyzing how these three groups strategically interact with one another.
These three groups pursue their interests in different ways, and their goals also differ significantly. The leadership wants to continue dynastic rule and ensure stable succession, the elite seek to secure their positions and avoid political risks such as purges, and ordinary citizens primarily seek survival and improved living conditions.
The interests of these three groups sometimes conflict with one another and sometimes align. In my opinion, these three groups in North Korea are currently remaining in a state of equilibrium.
This equilibrium means that these three groups can achieve their maximum interests under the current conditions in North Korea. Precisely because of this equilibrium, North Korea has been able to maintain both regime stability and limited marketization simultaneously.
That is why I believe we must identify what kind of shocks could cause this equilibrium to collapse. If such a change were to occur, it could become a new turning point for North Korea.
A new turning point for North Korea could lead the country toward a new political and economic order. The important thing is that we must identify what kinds of shocks could trigger such a transformation.
I hope for a North Korea that has changed—a place where its people can live freely. For me, North Korea is not just a state; it is my hometown, where I was born and raised, and where my family still lives. This is precisely why I am committed to a different approach to the North Korean issue—because my only goal is to see genuine change in North Korea, and I truly want to help bring about that change.
I want my article to inspire you to see something different the next time you watch the news or media coverage about North Korea. The next time you come across a piece of media about North Korea, I hope you take a moment to think about the real North Korean people. And perhaps you may also reflect on this article and consider what kinds of shocks could transform the current equilibrium of North Korea.
I hope you will join me on this journey.
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Maria is a participant of the LiNK English Language Program (LELP), which serves to not only help North Korean defectors build confidence and skills in English, but develop their capacity as advocates for this issue. To that end, we partnered with select LELP “columnists” to write and polish personal essays through multiple rounds of external feedback and revision. Our goal is to have more North Koreans share their stories directly and lead efforts to change the narrative.
We believe the North Korean people can achieve their liberty in our lifetime.
Opportunities like LELP invest in the people building that future now. Help more North Koreans find their voice, reach their goals, and lead change on this issue.
