The Voices of the Silenced 2023
Director Park Soo-nam, a second-generation Korean resident in Japan who is losing his eyesight, decides to digitally restore 16mm film she shot a long time ago, relying on her daughter Park Ma-eui's eyesight. The blood, tears, and numerous corpses of Koreans living in Japan are clearly engraved in the film filmed over 50 years.

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Nuchigafu - Life is a Treasure 2012
A feature-length documentary that witnesses twenty-seven survivors of the Battle of Okinawa break their silence to testify the truth about the tragedy of “gyokusai,” forced group suicide, of Korean “military laborers” and “comfort women” brought from Korea. Just how were Okinawa citizens pressured and forced to commit group suicide in the final hours of the Pacific War, and what led to the near complete destruction of Korean military laborers and comfort women? Twenty years in the making since 'Song of Ariran -voices from Okinawa' (1991), Park Soo-nam’s third documentary returns to the subject of Korean military laborers and comfort women in Okinawa.

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The Other Hiroshima: Korean A-bomb Victims Tell Their Story 2005
Living in a slum damaged by the atomic bomb and watching elderly first-generation zainichi hibakusha (atomic bomb survivors) pass away one after another, Pak felt compelled to break their silence with this documentary, her first. Using up all her savings and going into debt, she teamed up with cinematographer Otsu Koshiro and collected these testimonials from zainichi North and South Koreans living in Hiroshima and South Korean hibakusha visiting Japan for medical treatment.

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Song of Arirang - Voices from Okinawa 1991
In the final hours of the Pacific War, Okinawa was the destination for Korean men conscripted as “military laborers” and Korean women taken as “comfort women.” Little is known about the number of casualties or their experiences. In 1989, Park Soonam started to track down the survivors of the Battle of Okinawa to record their testimonies. In 1990, Park visits Korea in search of former “military laborers” who had survived Okinawa and repatriated to Korea. The survivors vividly recount their experiences of their compatriots’ murder and about the “comfort women” to the Zainichi Korean female director. The film zeroes in on the murder of Korean “military laborers” and the presence of “comfort women” in Okinawa via testimonies of former Japanese soldiers.

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