Japanese Military “Comfort Women” Film from Argentina

“Speaking out is critical to the healing process. These women shared the horrific experiences they endured, bravely breaking their silence to start healing. This opened the door for other women to speak up—for ourselves. We ask ourselves. How many women need to heal their wounds today, in 2022? Why do we have to gather here every Wednesday? Why is it so hard for us to speak up? Why are we literally beaten to death every day and yet remain silent about everything we've been through? Why should we feel ashamed to even talk about the daily abuse we face from men, even though speaking out will ease the pain? We should never be afraid to talk about the pain we are experiencing. We may feel powerless, but speaking can definitely help us heal faster.”

On July 4, 2022, in the pouring rain, Melanie Chong, a participant in the 1550th Wednesday Demonstration, read her solidarity remarks with clear determination. This second-generation Korean woman, who flew in from Argentina, had already visited the War and Women’s Human Rights Museum and the House of Sharing to learn about the painful history of the Japanese military "Comfort Women".
The documentary film <A Boat Departed From Me Taking Me Away>, directed by Cecilia Kang, a second-generation Argentine of Korean descent, follows the journey of the protagonist, Melanie Chong, as she confronts and grows increasingly aware of the issue of the Japanese military “Comfort women.” It explores the link between wartime sexual violence and the everyday violence women experience, revealing, calmly and poignantly, that a society that silences victims is complicit in their suffering.

A film from Argentina, a second-generation Korean-Argentinian director, and the voices of young Argentine women in their 20s resonate with the issue of Japanese military “Comfort Women” and women's human rights…. The film <A Boat Departed From Me Taking Me Away>, carries deep and multifaceted implications that transcend generational and regional boundaries. It addresses the Japanese military "Comfort Women" issue, which remains a significant challenge in Korea, exploring how to connect and engage with future generations and share this story with the international community. The film is receiving substantial attention, leading to extended screenings. Though it has not yet been released in Korea, we spoke with director Cecilia Kang, who attended the '2024 Academic Colloquium' organized by Research Institute on Japanese Military Sexual Slavery, to discuss her movie.

It Starts with Kim Bok-dong’s Speech… When I Heard of Her Death, I Thought, ‘I Have to Do Something.’

Q. You are a second-generation Korean-Argentinian born in Buenos Aires in 1985, the year after your parents immigrated to Argentina. How did you come across the issue of Japanese military "Comfort Women" in South America?

🧶 Cecilia Kang : It was 2013. When I visited Korea to film the Korean portion of my first feature-length documentary, , I had the chance to attend the 'Korean Women's International Network (KOWIN)' conference. There, I heard Kim Bok-dong’s speech for the first time. I still remember her painful words: being taken to Japan and then to China at fourteen, raped 20 to 30 times a day, and seeing other women die beside her. She returned home scarred by those memories and never told anyone about them. The reality she couldn’t speak of, the shame she had to bear in silence… Her words were hauntingly vivid, and I was deeply shocked. She came forward not for financial compensation but to ensure that future generations would be properly educated on these historical facts to prevent such misfortunes from happening again. It was a turning point for me, like an earthquake in my life. Until then, I knew nothing about the history of the Japanese military "Comfort Women" and had never even heard of the term. I was ashamed that I had reached my thirties without any knowledge of this history.

Q. There is a big difference between being exposed to shocking facts and feeling a deep empathy that drives you to take action. Even if it aligns with your field, producing a high-cost film often presents practical challenges. What kind of mission or commitment did you feel?

🧶 Cecilia Kang : I didn’t plan to make a film from the start. I returned to Buenos Aires feeling devastated, unsure of what to do with this knowledge. I didn’t know if I was qualified to address this issue, and the sense of responsibility was overwhelming. Even though I didn’t understand why at the time, it felt like a calling that stayed with me. Then, in January 2019, I heard about Kim Bok-dong’s passing, and I felt a strong need to act. In the meantime, I had undergone changes as well. There are many concerns that the problem will worsen as a very far-right political party takes power at the end of 2023, but domestic violence is so serious in Argentina, including in the Korean community, that one woman is sacrificed every eight hours. Then, the MeToo movement has been going on for 10 years. It has significantly impacted me, changing my perspective on gender issues. My work began to focus more directly on themes of violence and women’s human rights.

Reading Testimonies, Respecting the Victims, and Focusing on Hope

Q. It seems the Argentine female director faced various concerns while conceptualizing and shaping the film, including how to represent the Japanese military "Comfort Women" issue. How did you approach the content and methods of this portrayal?

🧶 Cecilia Kang : I had many concerns about how to convey such a heavy and difficult subject, and I was honestly quite fearful. I worked closely with writer Virginia Roffo, who handled the screenplay, to find a way to make a film that respected the victims as much as possible. In the process, the first thing we agreed on was that, while it would be impossible for this film to heal the victims, we could aim to heal the audience and focus on hope rather than the dark parts of history. Since I am neither a historian nor a scholar, I knew from the start that I couldn’t approach the "Comfort Women" issue from a historical angle. At that point, Virginia suggested bringing this history into the present by having young women read the victims’ testimonies. I’ve been greatly inspired by Brazilian director Eduardo Coutinho, a renowned artist and humanist known for his documentary , so I decided to incorporate his interview style. This led to the opening of the film, featuring interviews with women in their 20s from the Korean community.

Q. This seems to reflect a path similar to your own journey of learning about the Japanese military "Comfort Women" issue.

🧶 Cecilia Kang : That’s right. It may be an analog approach, but it was important to have a theme and structure that felt as close and authentic as possible. I think I naturally chose this method in the film, based on the powerful experience of hearing Kim Bok-dong’s testimony. Before casting the women who would participate in the interviews, I worried that, even though they are second-generation Koreans, they might see it as something that happened long ago or feel that it wasn’t personally relevant to them since they belong to a different generation. But those preconceptions dissolved during filming. Most of the women were familiar with the term "Comfort Women" but didn’t fully understand the suffering these women endured. So, they hesitated to respond to questions initially. However, as they read the victims’ testimonies from a first-person perspective, they had a profoundly different experience and began gradually engaging with the issue.

During the interviews, learning about the subtle discrimination and oppression that women experience in daily life was another shock. These women live in Argentina and are also part of the Korean community, which gives them a unique cultural identity. Particularly, the parent generation, who faced hardships leaving Korea and adapting to life in a foreign country, places great value on traditional Korean culture and has a strong desire to preserve it. This, however, can feel restrictive for the younger generation. I sometimes feel that women in the Korean community in Argentina are living in the 1970s and 1980s in some ways. Focusing on these cultural dynamics and differences allowed me to build a deeper bond with the women.

Impressions After Repeated Script Revisions, Adjustments, and Fast-Paced Filming

Q. Later, Melanie Chong, one of the interviewees, takes on a larger role in the film, gradually becoming a prominent figure in addressing the Japanese military "Comfort Women" issue. Was this part of the original plan?

🧶 Cecilia Kang : During her casting interview, I discovered that Melanie was an aspiring actress studying drama. It was wonderful to see her, and I felt an instant kinship, a kind of “Sense of Mirroring,” since we shared a connection as fellow artists. I asked her to read the script, and she offered to improvise her performance and read aloud the testimony of Hwang Geum-ju. This was more than reading—it was acting that integrated parts of her own experiences. Following how the testimony affected Melanie’s daily life, the story naturally began to center on her. This development wasn’t planned. For budget reasons, I initially didn’t include scenes of my visit to Korea in the first draft of the script. But once production began, the COVID-19 pandemic struck, leading to several script revisions. During this time, I had other work in Singapore, which gave me an opportunity to stop in Korea. It felt like a perfect time to film, so I discussed it with Melanie and revised the scenario again.

Looking back, filming in Argentina was driven by intense passion, while filming in Korea felt more like an “emotional odyssey” filled with ups and downs, jet lag, and a sense of drifting, all under a small budget and tight schedule. We had less than a month to research, recruit, prepare, and shoot, so everything moved at incredible speed. It was monsoon season, and I was the only Korean speaker on the six-person crew, so we all faced tough challenges. Filming in Korea wouldn’t have been possible without the help of many people—from the sound engineer who worked tirelessly all week for a daily wage to the agency representatives who permitted us to visit. Thanks to this, Melanie could visit the War and Women’s Human Rights Museum, the House of Sharing, and participate in the Wednesday Demonstrations. We were all deeply moved when we encountered the records of Hwang Geum-ju on display in both places, and when we heard Melanie’s powerful solidarity statement—a message she prepared beautifully despite the busy filming schedule and time difference. This process allowed the journey of Argentine women approaching the "Comfort Women" issue to be portrayed authentically in the film.

Q. The story of Hwang Geum-ju keeps coming up consistently. I was curious if there was a special reason behind it.

🧶 Cecilia Kang : Not particularly. There were testimonies from several women, but Melanie read it first and made the choice. I think she felt a stronger connection to Hwang Geum-ju’s testimony. It was a result of cinematic coincidences coming together.

Q. The title of the film is poetic. Is there a deeper meaning behind the title <A Boat Departed From Me Taking Me Away>?

🧶 Cecilia Kang : The title comes from a poem by Alejandra Pizarnik, an Argentine poet I admire. She was a passionate feminist voice in 1960s Argentina. Words alone often fall short of capturing the world we live in, and poetry, in that sense, asks how women can truly express their identities. I wanted to convey that there’s so much left unsaid—not only in the stories the victims couldn’t fully tell, but also in what women today still long to voice. And, in another way, there’s also the hope that the history of “Comfort Women” reaches everyone.

Q. I heard the film premiered in Argentina late last year.

🧶 Cecilia Kang : <A Boat Departed From Me Taking Me Away> premiered in July 2024 at the Museo de Arte Latinoamericano de Buenos Aires (Latin American Art Museum of Buenos Aires: MALBA), in a 240-seat public cinema. Surprisingly, it’s still showing. It also ran for two weeks at the San Martín Theater Art House, a dedicated film venue, where it was sold out. The film is now expanding to more theaters across Argentina, and we’re honestly a bit overwhelmed by the response—it’s exceeded our expectations.

Interest in Argentina and Reasons for Extended Screening

Q. This must be an unfamiliar story for audiences in Argentina. Why do you think it’s received so much interest?

🧶 Cecilia Kang : I think it started with word of mouth as people discovered new information they had never encountered before. Secondly, much like I was, Argentinian women seem to be deeply affected by the pain and trauma experienced by the "Comfort Women" victims. There’s also a strong historical connection to Argentina’s own past, marked by violence and oppression during the military dictatorship. At every screening, someone in the audience brings up the Wednesday demonstrations featured in the film, drawing a connection to Argentina's Abuelas de Plaza de Mayo (Grandmothers of the Plaza de Mayo). These women marched every Thursday in front of the presidential palace in Plaza de Mayo, demanding truth about their kidnapped or disappeared children and grandchildren born in captivity during a military dictatorship in the 1970s. There’s also a saying: “Nunca más (Never again)“. Both Argentina’s Thursday marches and Korea’s Wednesday demonstrations represent the struggle for memory, truth, and justice, and they symbolize a shared commitment to prevent such tragedies from repeating. Many people feel a sense of solidarity between the two. Plus, K-pop and the Korean Wave are incredibly popular in Argentina, which seems to be broadening interest in Korean culture overall, extending even to films like this one.

Q. I also heard the film won awards at a festival.

🧶 Cecilia Kang : Yes, it premiered in the international competition section at the Mar del Plata International Film Festival around its release. It’s the largest film festival in Latin America, so we entered without high expectations. To our surprise, it received great praise and won several awards: the Special Jury Prize, the Audience Award (which I’m especially proud of), the SIGNIS Award for Best Film across all competition categories, and the Best Documentary Award. It’s such an honor. The recognition was unexpected and has helped us share the stories of the "Comfort Women" with a much wider audience, and I couldn’t be more grateful.

Q. Do you have plans for a release in Korea?

🧶 Cecilia Kang : I would love for Korean audiences to see it, as well as Argentinian audiences, but unfortunately, there’s no set plan for a screening in Korea yet. I’m very curious how Korean viewers will perceive and interpret the story of the Japanese military "Comfort Women" told from the perspective of a director with a unique diaspora identity—an Argentinian but second-generation Korean-Argentinian. If it screens in Korea, I hope it will lead to an even broader understanding of these overlapping memories, histories, and experiences, sparking open discussions and debates.

Hoping to Continue Sharing Works Reflecting Diaspora Identity and Perspectives

Q. One of the main challenges with the issue of Japanese military "Comfort Women" is finding ways to foster empathy and understanding with future generations. At a time like this, <A Boat Departed From Me Taking Me Away> makes a strong impact by resonating with young Korean-Argentinian women. What are your hopes for how this film might be used in this context?

🧶 Cecilia Kang : I hope my film can serve as an “opportunity.” If historical events aren’t explored by younger generations—the ones who will shape our future—those events risk losing their meaning. It is essential to create many and varied ways for younger audiences to engage with these stories, so they’re encouraged to take an interest and continue in that role. People might resonate with, want to reject, or disagree with the narrative of <A Boat Departed From Me Taking Me Away>, but above all, I’d love for it to open a space for them to explore a range of emotions and thoughts, whatever their perspective may be.

Q. You've consistently created works that sensitively explore a diaspora identity bridging Argentina and Korea. As a final question, do you plan to continue exploring this theme? Could you share any upcoming projects or plans?

🧶 Cecilia Kang : From a young age, I always felt different. I sometimes describe it as a feeling of “forced migration.” I was caught between worlds so different, from appearance to culture. My teenage years were especially challenging, but I think that’s a common experience in all diasporas. Over time, though, I realized that these differences—my looks, my experiences, my perspective—are what make up my unique identity, giving me a distinct viewpoint. Personally, as well, making this documentary felt essential; as someone with a dual cultural background, I needed a way to express my identity. The filming process taught me a lot and helped me understand both myself and the world more deeply.

When I return to Buenos Aires, I plan to start work on my next project, . It’s the story of my father, a first-generation immigrant, and it’ll be my first venture into fiction. After sharing <A Boat Departed From Me Taking Me Away>, I finally feel ready. Whether in fiction or nonfiction, I also dream of someday making a film filled with comedic elements. I look forward to continuing to connect with audiences through film.