Bong Joon-ho’s political commitment is not just about political themes, plots and public stance. Apart from these obvious signs, we can wander along another trail, consisting of faint traces and half-erased footsteps, leading to a global picture of Korea and the world’s most recent history. Following up these traces, I will try to reveal the presence of spectral images of insurrection in Bong’s movies, i.e. images that bear the tormented memory of a political event in both content and form. My purpose is to understand how political images circulate from the historical unconscious to cinema and the new media. Moreover, these processes are more vivid in two of his fantastic movies: The Host (2006) and Snowpiercer (2013). I shall seize this unexpected convergence as an opportunity to discuss possible relationships between politics and the fantastic genre.