This paper analyzes two films from 2009 that are not only striking in their use of children as protagonists but also noteworthy in returning to the once-popular subject of abandoned children: So Yong Kim’s Treeless Mountain and Ounie Lecomte’s A Brand New Life. The significance of these two works lies in their similar narratives of abandonment and journeying but also in the comparable backgrounds of the filmmakers as Westerners with Korean origins. Both filmmakers left Korea as children and grew up in the West. It seems both films were created by each filmmaker as a kind of tribute to their Korean roots and childhood memories in Korea. This paper’s analysis of the films is twofold. First, a textual reading reveals child perspectives and their matching visuals as playing crucial roles in understating—or concealing even —the gravity of the issues of abandonment and adoption embodied in the narratives. Second, and more importantly, the paper discusses the “accented context” of the films and their filmmakers, borrowing from Hamid Naficy’s theory of “accented cinema” (2001). In light of the analogous backgrounds of the filmmakers as not only outsiders of the Korean film industry but also Westerners with Korean roots, the paper questions the significance of the autobiographical aspects of the films, as well as their international production background. Such geographic and thematic returns to Korea and the Korean family by these Western-filmmakers with Korean origins sheds light onto broader issues of what constitutes a Korean family and a Korean film.