This essay analyzes Korean films, Traffickers (Gongmojadeul, Hong-seon Kim, 2012), Sea Fog (Haemoo, Sungbo Shim, 2014), and The Yellow Sea (Hwanghae, Na Hong-jin, 2010), to examine the motif of fragmented bodies and perilous cross-border migrations. These films depict vulnerable bodies that are at risk of being brutalized, mutilated, and dismembered according to the calculating logic of global capital.