Episode 1 of "Our Movie" unfolds with the curtains drawing to a close on a cinematic experience, leaving Je-ha and Da-eum as the sole witnesses to the credits scrolling gracefully across the screen. Da-eum, imbued with optimism, whispers her belief that every conclusion heralds the dawn of a fresh beginning.
In the present era, Je-ha's directorial debut has soared to immense popularity, serving as a springboard for its producer, Bu Seung-won, and its captivating lead actress, Seo-yeong. However, just as the film's press event gathers momentum, it is abruptly upstaged by the somber news of Je-ha's father's passing.
Despite being an esteemed director in his own right, Je-ha plummets into a creative abyss, trapped there for half a decade. Seung-won, undeterred, presents Je-ha with a new venture—a remake of 'Love in White,' the masterpiece crafted by Lee Du-young, none other than Je-ha's estranged father. Je-ha harbors a deep-seated resentment towards his father and harbors past wounds from a relationship with Seo-yeong, who ultimately wed and then divorced another.
Seung-won coerces Je-ha into attending a premiere of a contemporary film, an occasion that proves awkward and uncomfortable. Je-ha rebukes his colleagues for their superficial gossip about nudity and Seo-yeong, who stars in the movie. The film's helm, director Park, is revealed as a sensationalist filmmaker, consumed by the allure of nudity and amorous scenes.
Seung-won and Seo-yeong coax Je-ha into staying for the afterparty, where Park's rudeness prompts Je-ha to confront him about his controversial filmmaking approach. Park retaliates by labeling Je-ha a privileged nepo baby. As Je-ha storms out, Seo-yeong ponders how their lives have taken such divergent paths.
Meanwhile, we encounter Da-eum, a vivacious and radiant soul who haunts the corridors of a hospital, capturing life's moments with her trusty handycam. She befriends everyone she encounters and, by sheer accident, films Je-ha after his abrupt departure from the afterparty. She offers him a soothing grape drink as an earnest apology. Once he's gone, her friend teases her about her perpetual singledom, then expresses concern upon learning of Da-eum's bicycle mishap. They later delve into the details of attire for an impending significant event, their laughter echoing in the hospital's hallways.
In the midst of a screening for "Love in White," Je-ha and Da-eum find themselves unexpectedly sharing the experience. While Je-ha harbors a deep disdain for the film, his astonishment grows as he witnesses Da-eum shedding tears. After a timer's chime interrupts the moment, she abruptly dashes off, only to reappear later, savoring a meal. During this time, she strikes up a friendship with an elderly lady, finding an unparalleled beauty in her aged visage.
Elsewhere, Je-ha's path crosses with the very actress from "Love in White." She approaches him with contrition, but his forgiveness remains elusive, haunted as he is by the memory of his mother's passing from illness, coinciding with the film's production orchestrated by her and Du-young. Compounding his distress, the movie's narrative revolves around a terminally ill lover, which he deems far from genuine. The actress, desperate for understanding, urges him to read the film's first draft.
Je-ha retreats to his ancestral home, recently reclaimed after years of laboriously repaying his father's debts. Flashbacks flood his mind, painting a picture of Du-young as a perpetually occupied man, neglecting his wife and child. Upon entering his father's study, Je-ha encounters a shocking revelation: the original draft of "Love in White" bears the name of Yu Eu-nae, his late mother. Further flashbacks unfold, showing Du-young appropriating his wife's work, mocking its scenes, and collaborating on it with colleagues.
Presently, Je-ha finds himself attempting to pitch a script when he learns that Director Park is being considered for a remake of "Love in White." His horror gives way to reluctant acceptance, and he ultimately agrees to be part of the remake. Confessing to Seung-won, Je-ha reveals his personal stake in surpassing the original—a quest to honor his mother's legacy.
Elsewhere, Da-eum stumbles upon Seo-yeong in the midst of filming a scene, her heart skipping a beat with admiration. She pictures herself stepping into Seo-yeong's shoes, only to be abruptly pulled back to reality by the blaring sound of her timer. As she settles down to savor a meal, she's astounded to find Seo-yeong taking a break at the very same table. Da-eum feels an awkward mix of embarrassment and exhilaration, valiantly warding off overeager fans while Seo-yeong watches, touched by her efforts.
During their conversation, Da-eum confides that she captures picturesque scenes on film, fearing she might never witness such beauty again. In return, Seo-yeong shares her own challenges, revealing how her job tests her endurance, like shooting underwater scenes despite her intense fear of water.
A month passes, with Je-ha mired in rewrites and resenting how his father portrayed the heroine as submissive. Meanwhile, a gifted assistant director turns down other directorial opportunities just to collaborate with Je-ha. The studio has its eyes set on Seo-yeong for the leading role, but her agent harbors a deep dislike for Je-ha. The script consultants fall short of expectations, prompting Seung-won to seek out Dr. Kim, Da-eum's physician.
Dr. Kim stands out as a unique figure, stressing that each terminally ill patient is a world unto themselves. He disapproves of Je-ha's nonchalance and decides to introduce him to another consultant at the funeral of a terminally ill patient. While Je-ha waits, Da-eum enters, tears streaming down her face, to pay her respects. They find themselves sharing a table, and later, Je-ha overheads her asking the funeral director to transform the decor into something bright and wedding-like. Her tears continue to flow as he offers her tissues, perplexed by the entire emotional spectacle. She remarks on their unexpected encounters, now three in total, leaving him further intrigued.
At the conclusion of Our Movie Episode 1, she introduces herself to him, her voice tinged with sadness and resolve, as a terminally ill patient and his new consultant.
