PORTRAIT OF TRACES, 9min., South Korea
Directed by Hansol Jeong
is a four-chapter XR-based dance film tracing the journey from constricted breath to embodied self-return. Through performative movement that merges dance and acting, and immersive digital environments that externalize inner states, the body becomes both narrative and landscape.

Get to know the creative team:

1. What motivated you to make this film?

Chung, EunJu (Choreographer, Main Performer): This work began from a deeply personal place—myself. I wanted to express
emotions, memories, and inner states that are difficult to articulate through
words, using movement as my primary language. This time, I wanted to
challenge myself by translating these expressions into film, rather than live
performance. I proposed this collaboration to director Jeong Hansol, who has extensive experience in commercial filmmaking.

Jeong, Hansol (Director): When EunJu proposed the collaboration, I was drawn to the idea of capturing the transformation of the self. I wanted to visualize this inner change not in a realistic space, but through imagined and virtual environments.

2. From the idea to the finished product, how long did it take?

Chung, EunJu: It took about two months to develop the concept, casting, and choreography. The entire process—including building the emotional structure, developing the movement language, integrating XR elements, filming, and editing—took approximately four months.

3. How would you describe your film in two words?

Jeong, Hansol: Self / Virtuality

Chung, EunJu: Portrait / Space

4. What was the biggest obstacle you faced in completing this film?

Jeong, Hansol: Since we worked with virtual environments rather than physical spaces, we filmed in an XR studio. One of the biggest challenges was creating water elements using AI, which required a lot of trial and error.

Chung, EunJu: The key challenge was expressing emotional continuity through the body rather than relying on dance technique. I wanted to show that even simple gestures or gaze can carry meaning. Another challenge was choreographing not only the body, but also the camera and XR space as one integrated composition.

5. What is your favorite stage of the filmmaking process?

Jeong, Hansol: I find the development and conceptual stage the most engaging, especially when exploring how movement can be translated into visual language.

Chung, EunJu: I particularly enjoyed the development and pre-production stages, where I could experiment with ideas and explore different perspectives.

6. When did you realize that you wanted to make films?

Chung, EunJu: I had the opportunity to appear as an actoress in a dance-related short film by chance, and through that experience, I discovered how movement can expand in a completely different way on screen compared to live performance. I had long wanted to create a dance film, and this experience became the turning point that gave me the opportunity to finally pursue it. I am now actively developing my own work in this field.

7. What film have you seen the most times in your life?

Jeong, Hansol: I have been watching many contemporary Korean films, which have been evolving rapidly in recent years.

Chung, EunJu: Rather than a single film, I am more influenced by movement-based works. I often watch films featured on platforms like Nowness, especially those combining movement with fashion, theatre or any genre with movements.

8. Who would you like to collaborate with?

Chung, EunJu: I am interested in collaborating with artists who explore the intersection of visual art and immersive technology, and who are open to sharing ideas and
perspectives.

9. How has your experience been working with FilmFreeway?

Chung, EunJu: The platform is very well-organized and easy to use, making the submission process smooth.

10. What is your favorite meal?

Chung, EunJu: I enjoy Korean food, especially braised short ribs (Galbijjim).

11. What is next for you?

Chung, EunJu: I am currently developing a new dance film project inspired by the color blue,
exploring emotional narratives through different states. This time, I will also take on directing, focusing on how movement can convey emotional storytelling beyond technique.