Panmunjom
AI short film · 2026 · WAN 3.0 via Higgsfield, Topaz, Suno, After Effects, Premiere
The brief. Two leaders, one table, and the most heavily guarded line on earth. Could a full short film (motorcade, standoff, soju and a red phone) keep its characters, its geography and its comic timing intact from the first frame to the last?
▶ Short film · 1:48
THE FILM (1:48)
Motorcade, standoff, soju, red phone. Cut in Premiere. Personal piece.
Approach. Every shot was built still-first: a locked plate for each character and each location, then motion in WAN 3.0. The hard part was geography. Two delegations, two kids, one table, and a line down the middle of the room that nobody could end up on the wrong side of. What finally held it was tethering each child to her parent and writing every wide shot in screen-left and screen-right terms. The 480p takes were upscaled to 1080 with Topaz, the score was written in Suno, and the opening title was built in After Effects as real 3D type in DPRK red and gold.
What it shows. The system scales from a single hero to an ensemble. Characters, places and comic timing hold across a full story when the world is locked before anything moves.
Arrival. The motorcade rolls in on the line.
The President steps out into the rain.
The Chairwoman descends. The pigeons hold their ground.
Red carnations for the occasion.
The room, from above. Every chair accounted for.
Face to face across the microphones.
The Chairwoman.
The President.
Everyone else has left the room.
Soju and cigars. Negotiations continue.
Something leaves the hills.
天雷-9. Personal piece.