Zhang Lü is a Korean-Chinese film director. He is a marginal man who is not welcomed in either his mother language (Korean) or national language (Chinese). He is an ‘accented director’ who has the diaspora experience, and post-colonial ethnicity and identity. His identity floats between ‘disapora Korean-Chinese’ identity and ‘Chinese inteligentsia’ identity. Zhang Lü pursues human dignity without following rules of ‘disapora Korean-Chinese’ identity and ‘Chinese inteligentsia’ identity in the same way that Freud did not miss ‘essence of a world citizen’ even if he floated between an objective scientist and a Jewish intellectual who explored his religion. In this context, film aesthetics of Zhang Lü shooting the true figure, catching up emotion while watching the ‘danger of distortion’ can be understood. His aesthetics that reminds us of ‘Cinema Verite’ or ‘Direct Cinema’ is to look for the right place to express his characters' truth according to his emotional line. Zhang Lü prefers actors or actresses who can have us look at them again and again rather than they behaviors, them who can sometimes remain in silence or continuously attempt at meaningless conversation rather than they respond to or follow conversation, namely them who can be called actors or actresses as medium. The core of his film aesthetics is ultimately concluded as exclusion of ‘cliché’. He is one of a few directors who shoot ethnic minorities from the viewpoint of ethnic minorities in China. The ethnic minority is the minority who is isolated and oppressed the most along with women in the Third World in the age of global capitalism. Especially, it is noticeable that he handled the North Korean defector, another minority, in his current movie, Dooman River. Ethnic minorities in China were named and recalled by the Han ethic group that comes to 94% of the whole population, the Chinese nation based on Han Chinese, and The Other called China, its form of political organization. He considered Korean-Chinese, one of ethnic minorities in China, as a topic. He continuously handled the North Korean defector and further the relationship between Korean-Chinese in a Yanbian area and North Korean defectors. Especially, it is identified that they continue to exist one community even if they belong to both the sides of the border. However, Zhang Lü pursues human universal value without just staying to make matters of Korean-Chinese the topic. That is human dignity, a value that can't be abandoned no matter hard it is. He says that the more capitalism commercializes human and fetishizes a society, the more we should resist. Zhang Lü's dignity is embodied through dialectical articulation of hospitality and gratitude in his movies. Zhang Lü has continuously crossed the border and drifted. From language crossing such as Chinese and Korean language, Korean and Mongolian language, Putonghua and Sichuan dialect, Yanbian language and Korean, and Korean and Chinese to place crossing such as China and Mongolia, grassland and desert, and both the riversides of the Dooman River. Zhang Lü crosses ethnic groups through ties between Korean Chinese Soon Hee and Han whore around Beijing and Mongolian language and Korean-Chinese language, and Mongolian and North Korean language in Hyazgar, Mongolia. Soon Hee and Chang Ho, a mother and son, and Hhangai can communicate, welcome, and thank each other and even if they belong to different ethnic groups and speak different language. Both the riversides of the Dooman River are divided by the border, but can be said to be one life zone. In the old days, people in Yanbian went to the North Korea to get food. Now, it goes on the other way round. Chang Ho and Jeong Jin give a warm welcome to another, sharing what they can give each other. Zhang Lü has kept up a nomadic deterritorialization through his films like this, dreaming of diasporic public spheres.

Zhang Lü is a Korean-Chinese film director. He is a marginal man who is not welcomed in either his mother language (Korean) or national language (Chinese). He is an ‘accented director’ who has the diaspora experience, and post-colonial ethnicity and identity. His identity floats between ‘disapora Korean-Chinese’ identity and ‘Chinese inteligentsia’ identity. Zhang Lü pursues human dignity without following rules of ‘disapora Korean-Chinese’ identity and ‘Chinese inteligentsia’ identity in the same way that Freud did not miss ‘essence of a world citizen’ even if he floated between an objective scientist and a Jewish intellectual who explored his religion. In this context, film aesthetics of Zhang Lü shooting the true figure, catching up emotion while watching the ‘danger of distortion’ can be understood. His aesthetics that reminds us of ‘Cinema Verite’ or ‘Direct Cinema’ is to look for the right place to express his characters' truth according to his emotional line. Zhang Lü prefers actors or actresses who can have us look at them again and again rather than they behaviors, them who can sometimes remain in silence or continuously attempt at meaningless conversation rather than they respond to or follow conversation, namely them who can be called actors or actresses as medium. The core of his film aesthetics is ultimately concluded as exclusion of ‘cliché’. He is one of a few directors who shoot ethnic minorities from the viewpoint of ethnic minorities in China. The ethnic minority is the minority who is isolated and oppressed the most along with women in the Third World in the age of global capitalism. Especially, it is noticeable that he handled the North Korean defector, another minority, in his current movie, Dooman River. Ethnic minorities in China were named and recalled by the Han ethic group that comes to 94% of the whole population, the Chinese nation based on Han Chinese, and The Other called China, its form of political organization. He considered Korean-Chinese, one of ethnic minorities in China, as a topic. He continuously handled the North Korean defector and further the relationship between Korean-Chinese in a Yanbian area and North Korean defectors. Especially, it is identified that they continue to exist one community even if they belong to both the sides of the border. However, Zhang Lü pursues human universal value without just staying to make matters of Korean-Chinese the topic. That is human dignity, a value that can't be abandoned no matter hard it is. He says that the more capitalism commercializes human and fetishizes a society, the more we should resist. Zhang Lü's dignity is embodied through dialectical articulation of hospitality and gratitude in his movies. Zhang Lü has continuously crossed the border and drifted. From language crossing such as Chinese and Korean language, Korean and Mongolian language, Putonghua and Sichuan dialect, Yanbian language and Korean, and Korean and Chinese to place crossing such as China and Mongolia, grassland and desert, and both the riversides of the Dooman River. Zhang Lü crosses ethnic groups through ties between Korean Chinese Soon Hee and Han whore around Beijing and Mongolian language and Korean-Chinese language, and Mongolian and North Korean language in Hyazgar, Mongolia. Soon Hee and Chang Ho, a mother and son, and Hhangai can communicate, welcome, and thank each other and even if they belong to different ethnic groups and speak different language. Both the riversides of the Dooman River are divided by the border, but can be said to be one life zone. In the old days, people in Yanbian went to the North Korea to get food. Now, it goes on the other way round. Chang Ho and Jeong Jin give a warm welcome to another, sharing what they can give each other. Zhang Lü has kept up a nomadic deterritorialization through his films like this, dreaming of diasporic public spheres.