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!
Lunar New Year in North Korea | What is Seollal (설날)?
North Korea has several major holidays, the most prominent being centered around the birthdays of Kim Il-Sung and Kim Jong-il. But there are some holidays that predate the regime, and continue to be celebrated in both North Korea and South Korea.
Seollal (설날) is one of these traditionally significant days. Known more broadly as Lunar New Year, it marks the first day of the lunar calendar and is observed in many Asian cultures. While January 1st marks New Year’s Day on the Gregorian calendar used by many western countries, the exact date of Lunar New Year differs every year. It typically falls at the end of January or beginning of February, and is celebrated over a period of three days.
Seollal in South Korea
In South Korea, Seollal is a time for families to gather and honor their ancestors. With people across the nation traveling back home, roads are packed and train, bus, and plane tickets are all booked months in advance.
Long hours are spent preparing traditional foods like tteokguk (떡국), or rice cake soup, and jeon (전), a savory pancake-like dish usually made with green onions. The act of eating tteokguk symbolizes turning one year older in Korean, and is believed to bring good luck and health for the year ahead.
Food is also an important component of Charye (차례), a memorial service to honor one’s ancestors. Led by the family’s eldest son, an assortment of dishes are set out on a table as an expression of gratitude, and rites are performed for the last four generations of one’s ancestors.
Another well known Seollal tradition is Sebae (세배). Younger members of the family, often while wearing traditional hanboks (한복), do a deep bow to their elders with the greeting “새해 복 많이 받으세요,” which translates to “May you receive good fortune and blessings in the new year.” In return, elders share words of wisdom and sebaetdon (세뱃돈), new year’s money in a colorful envelope.
The rest of the holiday is usually spent exchanging stories, reflecting on the past year, and playing Korean traditional games like Yutnori (윷놀이), which involves four wooden sticks that are tossed like dice to move tokens around a board.
Seollal in North Korea
In North Korea, the celebration of Seollal is encouraged by the state to emphasize Korean folk traditions. Historical programs are broadcast on TV, and local authorities organize mandatory activities such as kite flying and spinning tops. North Koreans gather with loved ones over the highly anticipated three day rest from work.
But unlike in South Korea, January 1st is actually considered the more important holiday to celebrate the New Year. This is when North Koreans do Sebae. Instead of the South Korean greeting, it’s customary to say “새해를 축하합니다,” or “Congratulations on the new year.”
On New Year’s morning, it is compulsory for all North Koreans to visit statues or portraits of Kim Il-sung and Kim Jong-il. After that, respects must be paid to town leaders, particularly the person in charge of one’s unit, such as the company president or homeroom teacher. Finally, greetings are exchanged between in-laws and neighbors, and families gather for ancestral rites, sharing food, and other traditional festivities.
Another key difference between New Year’s celebrations in North and South Korea is that there is no widespread travel. The lack of freedom of movement inside the country means it is extremely difficult for North Koreans to go from one city to another for any reason. Any requested travel requires a specific stated purpose, proper identification, and documentation that must go through several levels of approval, including from the head of the neighborhood watch (inminban), local People’s Committee, local district office, and a relevant police officer. Permits for restricted areas, such as Pyongyang and the border regions, require more complex issuing processes.
Yet both New Year’s Day and Seollal in North Korea are still celebrations of life and community. Many North Korean refugees fondly remember the holiday, recalling not the state enforced displays of propaganda, but precious time spent with loved ones.
“I grew up with a lot of aunts and uncles and they all lived in the same area, so on Seollal…everyone would get together to make rice cakes, noodles, and dumplings. After making a lot of food, we’d play Yutnori and everyone would start squabbling. Then we’d find out everyone’s fortune. I miss it now.”
- Hannah, escaped from North Korea in 2015
On Seollal, North Koreans don’t do a separate bow because they have already greeted the New Year. Depending on the region, North Koreans enjoy a variety of dishes like tteokguk (떡국), manduguk (만두국), dwejigukbap (돼지국밥), songpyeon (송편), nokdujijim (녹두지짐), and noodles.
“North Korea is a very communal society, so everyone gets together on Lunar New Year. The adults would play card games and Yutnori, we’d eat delicious food, and spend time together until the sun went down. I would wake up especially early to visit the homes of the neighborhood elders and they’d share the food they made with me… Later in the afternoon, I’d go to my homeroom teacher’s house with all my friends, and we’d play there until late in the evening.”
- Yulseong, escaped from North Korea in 2017
All around the world, the New Year is a highly anticipated time of reflection, gratitude, and turning the page. It’s a universal experience, one that is shared with the North Korean people as well!
