Enter Pyongyang: A Rare Look at Life in North Korea’s Capital City

“Enter Pyongyang” is a remarkable collaboration between city-branding innovator JT Singh and flow-motion videographer Rob Whitworth. It employs a blend of techniques, such as time-lapse photography, acceleration, slow motion, HD, and digital animation, to showcase a city that has remained largely unknown but is gradually emerging on the global tourism map due to North Korea’s opening up.

In recent years, North Korea has seen significant changes, including the proliferation of mobile phones, an influx of tourists, and even the introduction of a marathon. Several special economic zones have been established in cooperation with neighboring countries like China, Russia, and South Korea, and plans are underway for cross-border railways. “Enter Pyongyang” not only captures the city’s visuals but also conveys the spirit of transformation and potential in the country.

The video challenges the common stereotypes of North Korea as a closed-off and impoverished society. It portrays North Korean citizens as earnest and humane individuals rather than mere automatons. Even iconic figures like the traffic ladies and subway guards, who have long been symbols of rigidity, now occasionally share smiles. Meeting North Koreans reveals a society that aspires to be more like any other “normal” country.

In an interview published on Glade, Singh explained that the project was made in collaboration with Koryo Tours, a North Korea travel specialist. They were granted permission to film in Pyongyang with the assistance of two guides from the National Tourism Administration.

There were some restrictions on what they could film, including restrictions on construction sites, undeveloped areas, and military personnel. However, they had relatively free rein in other aspects.

To the question, “Isn’t this all fake? You don’t see the real North Korea,” the filmmaker points out highlight that the scenes in Pyongyang, although selective, showcase a clean and orderly city, and the film does offer a snapshot of life in the capital.

He describes the film as observational and not a means of supporting the DPRK government. The filmmakers had editorial control and did not have to endorse the government’s philosophy to gain permission for the project.