Holly & Mia: North Korean mother and daughter
"When I was young, my mom took me to go see a fortune teller. The fortune teller stared quite forcefully into my eyes, then said that she couldn't see me—that my future was a mystery because she couldn't see me in this world. My mother started crying, asking if I was going to die. The fortune teller told her not to worry, that although I would leave this world, I was going to find success in a world away. That was the moment I understood. I knew I had to leave."
To not know a day’s rest, to never feel a moment's peace — these were common themes in Holly’s life. Since graduating high school, she worked tooth and nail just to stay afloat. Growing into adulthood in the midst of a changing North Korea, she knew that money would be the only thing that could keep her and her family safe. Her family was able to find security by doing business in the Jangmadang (North Korean Market), but it was not enough. Holly left her home to travel to the southern part of North Korea to try to run her own business. Instead of steady business, she found love. Holly’s newfound romantic bliss did not last long. Due to a series of unfortunate business transactions, her husband lost everything. Feeling helpless, she decided to give up everything she had and make for the border. After two attempts and two jail sentences for attempted escape, she finally made it out. But even in China, she could feel a target on her back. Shortly after crossing the border, with no options, Holly was sold into a marriage.
Holly had a daughter with this man, and stayed in a loveless “marriage” because she did not want to deprive her daughter a father. She wanted to be able to give the new light in her life everything — every chance and opportunity any other child is offered by birth in the free world. Seeing that her husband could not care or provide for her, let alone her child, she knew she was not yet free. With the dream of an opportunity-rich future for her baby, Holly was able to make the arduous journey to freedom through our rescue networks. Traveling thousands of miles with her baby, not yet two years old, she could feel her dream come true the further she got from her old life.Now, Holly and her daughter Mia are safely resettled in the United States. Holly is excited to be able to learn anything and everything. "I want to learn a skill, any skill, that allows me to gain a good career and provide for my baby."
On a recent visit with Holly and Mia, we learned something new about her. Mia had beautiful hats, scarves, mittens and sweaters that were all knit by her mother. Holly learned to knit from her own mother and was using her skills to dress her daughter. With limited resources, she was even knitting with two chopsticks! Holly is working diligently to learn English and is excited and motivated by all of the new information she has access to. When she is not studying English or playing with Mia, she is knitting. To support Holly and Mia in their resettlement, we worked together to provide a place for Holly to sell her beautiful, handmade hats. 100% of the proceeds will go directly to Holly and Mia. Thank you for your support!
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.
