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“There are no words” on the screen “at the International Film Festival Toronto 9. September.
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Min Sook Lee is a documentary film film with three decades of experiences exploring the themes of social justice. Included sharp working conditions experienced by migrant workers in Contract (2003), Police Corruption Scandals in Hogtown: Police Policy (2005) and tragic separation of family mandate until the end of Korean War in Tiger Spirit (2008). Yet her newest film, documentary No words (2025) He was in its words, “most intense, most unreasonable Ignorior, terrifying film.”
No words He was a very personal project for a Korean Canadian film film, because he strives to know what led to her mother’s suicide 40 years ago. Although this life is in the form of death and priorities, the facts surrounding, remained elusive, curved with silence and secrets.
“There are so many unspoken tensions and faulty stories in my family, like any family,” Lee said. “But it’s complicated because of the migration, due to the intergenerational trauma. So the story really is thick in my mind that I couldn’t talk without a movie frame. So I’m a movie to feel very isolated. So.
Lee’s interviewed family and friends, most often her innarative father, find out who her mother and what she asked for death. Her father, admits that an unreliable witness, often transcribing personal history. He was also an unreliable husband, drinking and saw other women, while her mother worked the counter of her store, as well as taking care of her children. It has banned that she even talks to other men.
Lee remembers his mother as shy, reserved and silence, but it turned out that it wasn’t always like that. Through her film interviews, he learned that Mom used to be open, friendly and confident, resistant survivors, who faced endless difficulties. Lee’s mother was born Korean born in Japan, shortly after the Cantak earthquake and Korean massacre in Nagasaki.
Min Sook Lee is a documentary filmic product.
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“She managed to leave before the bomb fell,” Lee said. “Koreans who lived in Japan had a very, very difficult life as a colonial case and as a woman has never been any recently not even not even yet to be even that they were neither the textbooks nor were they Not even at all, there was no way for anyone.
Lee’s mother worked strange jobs to help provide brothers and sisters.
“By the time he met my father, she was in the early 30s, and most of the villages decided to be an old maid that wouldn’t mean a lot.”
Lee’s father is a former intelligence officer under Dictatorship Park Chung-Hee. While seeing his violent behavior as a factor in depression of his mother, she does not see him as a bad guy.
“I think our relationships, especially intimate, family relationships, are so complex,” Lee said. “Parental Relationships Are Ones That We Do Not Choose, We’re Born Into, And They’re Very Inflict With Cultural Weight, But Also Almost Existential Personal Weight. So It’s Very Hard For Me To Say My Father’s A Villain, Although He Was Very Abusive And He’s An Incredibly Difficult Personality. We have a challenging relationship. I am aware that conversations can be very fraught. So however. SO?
Her director’s role provided some emotional armor, the opportunity to access sensitive conversations with some objectivity.
“Moving the movie has enabled me to take conversations, I could never have personal without this project.”
The creation of the film also provides witnesses, she said. The crew of her film testified their conversations and when the film is displayed at 2025. Years Toronto International Film Festival The audience will also be witness. So much from what happens in the family is privately happening. So often there are no witnesses for violence or disrespect. It’s in those spaces, where it can be taken so much from you.
“This must be interested and I have been loved by voluntary films for so long,” “I said” here, here’s some witnesses. I’m able to happen that it can be known. Collectively, can we say that this happens?
So many lying memories of her mother suffer with sadness and sadness. As the film realized that she realized this despite the hard circumstances of her mother’s life, she was survived.
“She decided to reflect the incredible passion, fierce determination to live,” Lee said. “In the end, I had to understand while I made that the choice he made should have lived really, not for her, but for himself and my sisters.”
Women’s stories are often forgotten, so Lee was happy to honor the mother with a cinematic portraity.
“Women like it are not assigned to any merit to social standards,” Lee said. “It was an immigrant, uneducated, worker class, a colonial object, is considered countless women who have at least made a movie that at least I took a movie that at least made a movie that was at least I was thinking that At least I took her spirit, her determination that my film was recognizing her spirit, her determination to recognize his spirit.
Lee is a self-timer documentary, which now surrenders the film to Antario College of Art and Design, where its teaching and research focus on the relationship between art between art and social change.
“I didn’t know I would film movies until I was 30,” Lee said. “I worked on the radio for a while and I loved the media to talk to the radio, because I did, as I did, which I did, to which I was done, I was done to, which I was done, to which I did I did, to which I was done, I was done to, who I did, to which I did, to which I was done, I was done, to which I was done, I was done to, which I was done I was done to, I was done on, I was done to I did, I was done to, who I did, where I was done, I was doing, I did a lot of mistakes I was doing to school to learn film creation. “
Lee sees art as a strong way of connecting our mutual dreams and inclusion in important conversations. She hopes her film to help women of her mother’s generation, their own generation, as well as her children, recognize the outstanding restrictions have been aimed in Korean society.
No words Debit at the Toronto International Film Festival. September.
