The word “Manshin”, which is an honorific term for a shaman, may sound unfamiliar to us. In the modern history of Korea, where compressed modernization has been the first and foremost focus, shamans have long been rega...展开rded as symbols of all things outdated and superstitious, and therefore they have been the objects of continuous oppression and expulsion. On the day of her invocatory rite of a would-be spiritualistic medium, KIM Geum-hwa stated “In order to follow the divine path, I shall overcome many life-threatening obstacles.” Indeed, she did go through some near death experiences. Serving as a intermediary between God and humans, she has earned the title of “National Shaman”, and she has readily volunteered to cure the inner hurt of individuals and the wider society, sometimes through tearful consolations and sometimes using divine orders.
Perhaps it is only natural that director PARK Chan-kyong, whose works have focused on “the age of Cold War and a divided country”, has met with KIM Geum-hwa. Writer and director PARK has remained on the periphery of the film industry which normally requires huge capital. He is concerned with the innovation of the cinematic discourse in order to deliver the current topic of the society via a sharp, artistic language. Now he encounters such a synthetic artist who has cured societal diseases on the frontier of the society. As we witness the meeting of the two minds, we find a moment at which the souls of the two artists interact with each other. This moment then offers such a refreshing artistic experience and the joy of healing.