A woman who says she talks with dead people explores different dimensions of language through her memories that involve whispers and water. She learns, unlearns, and relearns how to speak. At the end of her journey, she encounters an existence whose voice resembles hers and sees how a language emerges from her breath.
You can’t whisper in the water. However, you don’t always have to speak a language with your mouth to convey a meaning. Even in the vacuum state where you hear almost no sound, you can exchange ideas in various forms. In doing so, we expand the scope of language and recreate it. This is called linguistic particularity. With a funeral photo between two candles, a female voice says, “I talk to dead people.” Women’s voices are often erased by oppression and discrimination in society. However, they remain a different form of language and form the voice of solidarity. It is an adventure of language that breaks boundaries and expands to multiple dimensions. With the memory of water and whisper, the narrator tests another possibility of language in the unspeakable realm. The language born out of the test has a form of multiple “I”s, namely “us.” Instead of oppression and discrimination, understanding and compassion lie in the language. The narrator’s wish keeps whispering throughout the film in the form of ritual. (HUH Namwoong)
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