Documentary about the struggle of the people of Jeju Island, South Korea. Set in the context of the U.S. presence in Korea after World War II, the film reveals horrible atrocities at the hands of the U.S. Military Government of Korea.

On the shores of Jeju Island, a fierce group of South Korean divers fight to save their vanishing culture from looming threats.

Confronting half of her mother’s life—her mother who had survived the Jeju April 3 Incident—the director tries to scoop out disappearing memories. A tale of family, which carries on from Dear Pyongyang, carving out the cruelty of history, and questioning the precarious existence of the nation-state.

Jeju-do is the largest of Korean islands and lies between Korea and Japan. There, for hundreds of years, women dive without breathing apparatus, to the ocean floor and collect shellfish, octopus, and urchins that they sell. The divers are in their sixties and seventies and their daughters do not want to inherit their work, lifestyle, and health problems that go with diving. As a filmmaker I was privileged to meet many of these women and dive with them. Their stories of hardship and pride confirmed my desire to record this unique and ancient tradition.

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In the turmoil of the Jeju 4.3 incident, Jeju Island witnessed the loss of an estimated 25,000 to 30,000 lives, with women constituting a significant yet often unrecognized proportion of the victims. This documentary illuminates the once-shrouded experiences of these women, led by a dedicated Jeju 4.3 researcher.

'Plum' is dissatisfied with 'Jeon Bok', a Jeju girl who met her mother on a family trip to Jeju Island. Besides, what are those heart-shaped eyes looking at 'Yoonseok'! When Jeon Bok, his best friend, Yun Seok-i, is taken over by Jeon Bok-i, an angry Ja-doo accidentally knocks over the Dolhareubang, and 'Bori', who was sealed with her curse from a long time ago, awakens. The people hit by Bori's Dolhareubang beam turn to stone and harden, and Jadoo and her friends search for a way to restore everyone to their original state... Let's go to Jeju Island! Let's go two! Fantastic adventure of the cheerful hero Jadu! What is the super secret that the fate of Jeju Island is at stake?

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In Jeju Province, located off the southern coast of Korea, are the women of the sea, those who hold breath for life. These women still exist and they still dive the old way, without tanks. They go into the waters of 10- to 20-meter depth to harvest seaweed and shellfish to make a living. They make a living in the same sea, but each haenyeo’s sea of life is different. The community is divided into three tiers- Group A, B and C, based on skills and capabilities. One’s rank is determined by sum or breath. Sum, is pre-determined at birth. Therefore, sum is desired. However, the ocean is harsh. May you desire! But seek what is not yours, the ocean will devour you. Life, for these women of the sea, is about holding one’s breath, and containing and controlling one’s desire. The film is a six year record of the lives of the haenyeos in Udo, an islet in the province of Jeju, known to be the birthplace of haenyeo. It is a close look into the lives that stand on the boundary of life and death.

Gangjeong Village, located at the southernmost part of Jeju Island's Seogwipo City, is in the true sense a 'breathtaking land of water.' In this film, eight directors independently yet collaboratively orchestrate a clever and humorous "mission" at this place where the groundwork for building a naval military base is in progress.

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Seven months pregnant and apprehensive of the effect motherhood would have on her career as a professional freediver, Kimi Werner took a trip to the island of Jeju in South Korea to meet her heroes, the haenyeo – a group of freediving and fishing women often regarded as Korea’s first working mother’s whose culture dates back centuries.

The oral writer of the April 3 Uprising and a Rwandan who came to Korea to study face each other, have a conversation, and then go on a trip hand in hand. The two people, from different generations, nationalities, and occupations, have something in common: they are the daughters of massacre survivors.

Battling deep depression, Jaeyoun returns to her roots on the island of Marano, South Korea, to visit her family of female free fivers known as haenyeo. To her surprise, she finds a connection to nature and her ancestors that literally saves her life.

There are five grandmothers, four of whom went to Jeonju Prison due to the Jeju 4.3. All of them were young people around the age of 20 at the time of the incident in 1948. The outline of the incident is formed when hearing the experiences of those who were sent to prison without trial particularly as women. The audience feels indescribable emotions by the fact that they have lived on despite what they had gone through, things that are just too much for a human being to bear.

According to a survey by the U.S. military government in 1946, 78% of the South Korean people wanted socialism and only 14% capitalism. By appointing the pro-Japanese collaborators and the rightists, Rhee Syngman, who had not received the people's support, massacred those groups and civilians that were political stumbling blocks. In dealing with the Jeju 4.3 uprising in 1947 and the Yeosun incident in 1948 and The Korean War having broken out, massive civilian massacre became regularized.

The late Kim Dong-il, a Jeju April 3 refugee in Japan, left behind over 2,000 crocheted items and pieces of clothing that preserved her memories, identity, and history. As the film traces the redistribution of her belongings, it illuminates the still-unhealed lives of various Zainichi Koreans who lived through the same era, sharing and connecting their intertwined memories.

Focusing on Mrs. Kang Sang-hee’s life, she lost her husband in the Jeju Uprising (March 3rd, 1948). The film views the dark-side of Jeju Island, a huge grave, which is completely opposite of the other side of the island, the famous tourist attraction. It says that the tragedy has been going on about the recent Gang-jeong village situation.

Wan-soon, a 9-year-old girl living on the island, managed to survive a massacre that took place 75 years ago. The lingering effects of this unresolved ordeal are emphasized, and the girl embarks on a journey to depict the vivid red fragments that remain in her memory, using a red colored pencil as her means of expression.