SUBWAY 3

This film ventures beyond the questions of the first installment, moving toward a more brutal
inquiry: "What kind of hell unfolds when the terror born from a system's silence meets the
twisted convictions of humanity?"
While the first film dealt with 'disconnection' and 'silence' in the sky, the second descends to
the ground to track how that disconnection morphs into 'madness' and 'frenzy.' The subway is
the most familiar mode of transport for city dwellers and a designated last-resort shelter. Yet,
a subway completely severed from outside information ceases to be a shelter; it becomes a
sealed prison where individual prejudices and confirmation biases collide. Within the narrow, elongated steel tube of the train car, generational conflict and political
polarization spread faster than the disaster itself. The clash between the anxiety of a
generation that has never known war and the elderly generation, lost in past memories and
certain of imminent conflict, serves as a microcosm of our society. In this unstopping train, I
sought to depict how the 'absence of information' transcends mere fear, becoming a
justification for the 'control' and 'violence' exerted over others. Subway stations are inherently spaces of 'flow' where countless people pass through, but in a
disaster, they become spaces of 'isolation.' Some try to open doors to survive, while others
block them to stay safe. The selfish instincts and the order of 'every man for himself' revealed
in this process show how easily the value of solidarity in modern society can be destroyed. The frigid textures of an ashen Seoul and the blacked-out tunnels, realized through 100%
generative AI, will offer audiences a sensory suffocation that goes beyond a mere visual
experience. Ultimately, this work is a harrowing report on how the 'terror of confirmation
bias'—defining the person next to us as evil—destroys us more thoroughly than the collapse of
the systems we once trusted. As a director, I have actively sought to integrate AI into film and video since its early stages. Since September 2025, I have produced and supplied numerous AI-generated campaign
advertisements for major South Korean terrestrial broadcasters—a first for the region. Through that experience, I recognized the commercial and cinematic potential of AI in
filmmaking. This project utilized a diverse array of AI tools, including Sora 2, King 3.0, Nano Banana, and
Topaz. Choosing to produce a "100% AI-generated film" was a new way to visualize grand- scale cinema, including locations and special effects that were previously impossible to
achieve with traditional low-budget independent filmmaking. After hundreds of trials and
errors, I have established a systematic, step-by-step production process for this new era of
filmmaking.