Film Review: Under the Sun
Spoiler alert: The North Korean government suffers from a severe transparency deficit.
How do you reveal the reality of a society where government representatives script each scene you're allowed to shoot?
Simple: leave cameras rolling at all times, and show your audience the scripting and retakes of "real life" in all their glory.
You end up not with a documentary about a family going about their lives, but a behind-the-scenes reveal of a family whose dinner-table conversations, workplace interactions, and even expressed emotions are curated by government propagandists for external consumption.
No North Koreans question this process out loud--except to check their lines.In this system everyone knows the role expected of them, especially with government officials overseeing everything. So before our very eyes, we observe the theatrical production of an ideal 'Kimilsungist socialist society', played out by real citizen-actors. And when citizens know the risks of not playing the part they’re asked to play, they become good actors.
This is of course a very real aspect of life in North Korea, even when no cameras are rolling. The everyday ritualised theatrical production of 'obedient citizens willingly striving as one for the socialist cause' is one of the key means by which the state perpetuates itself. Everyone knows what to say, how to say it, and that you have to say it. Whatever your innermost thoughts may be, it's hard to break role publicly when everyone else is sticking so closely to a ‘script’.
Revealing the nature of this production, warts-and-all, is one of the key contributions of Under the Sun.But as with any behind-the-scenes look, cracks in the facade, tired actors and cock-ups are apparent.'Off stage', strategically placed cameras record poor Pyongyang kids scavenging from a trash can. We see commuters disembarking to push a tram. A government 'set manager' shoos away two women approaching the back door of a milk processing plant with a big jug; we can only guess they were looking for an off-the-books top up, unaware there were foreign filmmakers present that day.
We see a forgetful factory worker reporting they have exceeded production targets by 150%, and in the next take 200%. It doesn't matter to any of her coworkers which fiction is used, and no one bats an eyelid.
And of course, children being less practiced in their roles within the system than adults, the best scenes feature North Korean kids. A small girl struggles to keep her eyes open while an aging war veteran wearing far too many medals bumbles through an anti-American propaganda lecture, punctuating tales of shooting down planes with praise for Kim Il-sung.
Jinmi, the star of the film, breaks down in tears when the pressure of performance becomes too much. Elsewhere, on-screen text tells us that she unwittingly revealed her parents' true occupations of journalist and restaurant worker before the government co-producers scripted them as the more socialist-appropriate textile factory technician and soy milk plant worker.
It's hard to not recall The Truman Show, and it boggles the mind to think there are 25 million people living out their lives in this theater state.
But unlike a Hollywood Movie, the enemy here is not represented by a snarling on-screen character. The propagandists are unnamed and we rarely even see their faces properly. The enemy is in fact the system itself, whose quiet tyranny forces every citizen - including the propagandists - to become complicit in its perpetuation by allowing the expression of only a singular narrative of what it is to be a North Korean.
Returning Home to a Free North Korea | A Glimpse of Reunification in 2045
By: Eunsook Jang
Eunsook is a 2024 LiNK US Scholarship grantee, a Fulbright Scholar, and a North Korean defector pursuing a master’s degree in international development at Brandeis University, where she focuses on post-conflict, economic, and human development. She holds a bachelor’s degree in political science and international peace from Korea University.
In the spring of 2045, on a flight from Incheon to Pyongyang, Emma's hands tremble. Her husband Sam reaches over and, steadily, holds them without a word. She turns to the window and stares into the pale clouds below the wing.
“I’ve waited 30 years for this day,” she whispers. “But now that I’m here… it doesn’t feel real. I hope this isn’t a dream.”
“Maybe it’s both,” Sam replies. “The dream became real.”
She closes her eyes. In 2015, at just fifteen years old, she crossed the frozen Yalu River in a dark March morning, leaving without saying a proper goodbye to her mother. That guilt, its intensity, has never faded, not even after thirty years. It simply learns to live quietly beside her.
“Will Mom recognize me?” she asks. “We parted when I was fifteen. I’m forty-five now.”
“She will,” Sam answers. “How could a mother not recognize her daughter?”
Emma says nothing. Will I... be able to recognize her? She does not say it aloud this time.
An announcement comes through the cabin speakers: "This is the first return flight for North Korean defectors to their hometowns. We know how much you have endured. We will carry you safely home."
It is a rare moment of comfort from a South Korean voice. Moments later, the plane lifts into the sky.
An hour later, the plane lands in Pyongyang. Emma weeps quietly, overwhelmed by the thought that across so short a distance, lives in the South and the North had been so utterly, irreconcilably different. For thirty years, she had not been able to cross it, that gap, so small.
From Pyongyang, the journey to Hyesan continues by bus. As the skyline of Pyongyang passes past the window, its taller buildings, its broad avenues, Emma allows herself the fragile hope: perhaps Hyesan has developed too.
After five hours on the road, the bus arrives at Hyesan Station. The apartments and the lay of the land are almost entirely unchanged from when she had left thirty years earlier, as if time had refused to move, as if it had been waiting for her. Emma found herself hoping the same might be true of her mother.
A thirty minutes' walk from the station: that is where her mother's house is.
As if drawn by a magnet, her feet start moving on their own.
Sam asks if they are going the right way. Without hesitation, "Yes," Emma replies. "I used to walk this road every day as a child. It’s still in my body."
He points to a bus queue down the street. "There's a bus queue over there. Want to take it part of the way?" She shakes her head gently. "If you don't mind, I'd like to walk." "Then we’ll walk," he replies without hesitation. Emma feels another surge of gratitude, grips on his arm and follows her memory home.
Since Emma left her hometown in 2015, the North Korean regime has conducted ten more nuclear tests as of 2045. And yet the face of this neighborhood has not changed by a single detail. The freedom and human rights that should have been the people's return on those tests have been vaporized into the air.
They arrive at a fork in the road. To the left, an alley leads toward the house. A familiar-looking house comes into view, enclosed by a wooden fence. She stops and stands motionless. It is the house, it is her house.
Several minutes pass. Then the door opens. Emma feels her breath catch. For a second, she forgets how to move.
After thirty years, she is here.
This is what the micropolitics of reunification looks like. Grand narratives, speeches, and legal texts may provide its official language, but its lived realities lie in moments, in feelings, like this: a mother and daughter recognizing each other after thirty years apart.
Author’s note: I dedicate this piece to my father in South Korea, who has never once wavered in encouraging my studies, as if realizing through me the freedom to pursue the dreams that were taken from him. And to my mother, who remains in North Korea: This piece is my proof that your daughter has not turned away from your suffering, but is working, in her own small way, to fight against it. I hope to see you, even if only in my dreams tonight. I love and miss you beyond my expression.
–
Eunsook 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.
