For me, candles were seduction. I thought the world was coming to an end. The people in the square laughed, cried, and shouted. Thanks to the small heat in my hand, I could imagine a new world that would come after the end. But, I did not recall those who could not afford candles, those who could not have a square.
In the candlelight-filled square that year, the director recalled apocalypse amid the crowd calling for justice and change. He thought the result wasn’t that bad and expected a better future. However, when the candlelight has gone, empty words are left on the ground. With his helplessness and doubt, he decides to meet three people who held candles at different times. Because it is impossible or unavailable to show them in front of the camera, he chooses to retell the story by squeezing into their words. Paraffin Dream isn’t an attempt to contextualize the democratic movement by using the symbolic candlelight protest but a process of focusing on residues forgotten in history. When the voices of four people, including the director, are mixed into one voice, the film reveals the gap between times and generations and separates different intentions and conditions. However, our eyes are drawn to something unchanged and continued. It gives us anxiety, disillusion, and defeat, but that is why we remember and keep making promises. (CHA Hanbi)
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