This chapter examines South Korean films about the minjung movement in the 1980s and analyses their tendency to reduce the latent potential of South Korea's radical struggle into cultural memories that are resolutely national, readily consumable, and highly individualized. Through a close-reading of two films, A Single Spark (Park Kwang-su, 1995) and The Old Garden (Im Sang-soo, 2006), this chapter argues that residual nationalism of such a modality of memorialization in South Korean cinema conforms to an ultimately conservative notion of the Deleuzian-Bergsonian "time-image." Cautioning against the uncritical use of Bergson within both postcolonial theories and postcolonial film studies, the chapter calls for a different kind of cinematic time-image, a Nietzschean-Deleuzianone that inspires us to demand what has been here to fore considered impossible or insensible within the social space.