이승준
Films // Motion Picture
Gutsanmang (wip)
From The Sea (wip)
Magpie Eye
Magpie Eye Installation
Practice Towards Light
Dreams of My Father
Jesa
How To Make Kimchi (or How To Be Korean)
Samguri Film Lab & Microcinema
News
Writing
Information
Screening
2026.12.20
(TBD)
Sorigrim, Seoul, South Korea
2026.12.20
(TBD)
Sorigrim, Seoul, South Korea
Screening
2026.11.20 @7pm
조나단 승준 리&휘휘의 상영회 <빛의 자격을 얻어>
Spacecell, Seoul, South Korea
Screening
2026.11.20-29
South Korean Avant-Garde Screening Program
Cycle Film Lab, Moscow, Russia
2026.11.20 @7pm
조나단 승준 리&휘휘의 상영회 <빛의 자격을 얻어>
Spacecell, Seoul, South Korea
Screening
2026.11.20-29
South Korean Avant-Garde Screening Program
Cycle Film Lab, Moscow, Russia
In Review Online
NYFF - Currents Program 3: Surface Noise (NYFF ‘26 Review) - Andrew Reichel
The second film, and the likely highlight of all 20-something Currents shorts, was Jonathan Seungjoon Lee’s Practice Towards Light, a collaboration with the painter Yun-hee Huh. (The exact number of shorts is hard to settle on due to a few older titles being mixed with the new, but the only other contender for best of the 2026 bunch was in Program 2, with Johann Lurf’s musical timelapse astonishment Forever…Forever.) The film had already been made available for a time to online viewers as part of an online program entitled Repeat as Necessary, and while it may have set the bar too high for the films that one saw at NYFF, it wound up serving as a terrific advertisement for attending this particular Currents program. A silent film shot on 16mm, Practice is a portrait of Huh performing her daily ritual of plein air painting the sunrise as it rises above the waters of her hometown. Seungjoon Lee, who shot four rolls of film across each of the four seasons and used each roll seven times to create superimpositions, wound up making a portrait film that seems to fuse everything it’s capturing into one single movement. Huh frequently appears to be painting the real waves and sunsets into motion, while the various colors of the waves and sunsets bleed effortlessly into one another with maximum sensuousness. Superimpositions in experimental film are predominantly associated with Jerome Hiler, but his work tends to have a bit of sprawl rather than the single-minded focus that both Seungjoon Lee and Huh are achieving in the fusion of their respective artistic practices. The silence is that of bliss, and that’s the sensation the film inspires. Portrait films rarely achieve their goals so ideally.