In Dreaming Birds Know No Borders, a bird sanctuary on reclaimed brownfield land is connected to an estuary at the 38th parallel that divides the Korean Peninsula into North and South. Set within the unceded ancestral territory of the Tsleil-Waututh Nation, with a backdrop of the Trans-Mountain pipeline, a young man is seen moving meditatively, inspired by the traditional Korean Crane dance. This footage is intercut with images from a badly degraded VHS copy of a film made in North Korea in the 1990s about an ornithologist and his work, a man left behind when his family went South, permanently separated from them by the border of the DMZ (Demilitarized Zone). The orignal film score is played backwards as well as slowed down. Linking these two people and places, Dreaming Birds focuses on the poetic residue of longing– the unfulfilled desire of returning to a place you can’t.