As relational events that cannot be fully explained through the modern sensory regime centered on visuality increasingly emerge as significant social concerns, it becomes necessary to reconsider the potential of smell to blur the boundary between one’s body and the world outside it. In Lucky, Apartmet, smell reveals the presence of those who cannot be fully apprehended through established sensory systems and heteronormative language, while playing a crucial role in enabling queer subjects to recognize and connect with one another.

Eo-jin Jeong, drawing on discussions of queer negativity, is interested in exploring alternative possibilities beyond modes of queer representation that have traditionally been centered on visibility and positivity. Eo-Jin Jeong focuses on how queer presence in film can be sensed by audiences through various formal devices, such as absence, traces, and sensory experience.