Invisible Light by director Gina Kim deals with the lives of two women, Gah-in and Do-hee, and their crossing and meshing fragments of life. Gah-in is confined to her home, pained by eating disorders. Pregnant Do-hee, returning from the US, travels the road back to the old woman that took care of her when she was little. She has left her husband and carries the seed of another man in her womb. A chance acquaintance becomes her fellow traveler as she wanders the streets of Seoul. The problems of Gah-in, trapped in her home and body, and Do-hee, on the road and forced to make a decision over her body, paradoxically become questions of decision or determination left solely for the women in their ‘illicit’ relationships. The reverse-edited scene with Gah-in swimming in the pool showing her slender body like a silvery fish, or the last long take of Do-hee’s body, with her hesitating whether to have an abortion or not-chain-smoking, masturbating-give us high hopes for Gina Kim’s future work.
 Feminist films as minor film usually have a different circuit from existing commercial films, with their low-budget production system and/or way of proposing feminist discourse through festival screenings. Such fate of feminist films can clearly be traced through the path that Invisible Light has taken. (Kim Soyoung)