Song Joong-ki, Nas Brown, Kim Tae-ri, Hyang-gi Kim, Jin Seon-kyu, Mu-Yeol Kim, Hae-Jin Yoo, Ye-Rin Park, Richard Armitage, Ji-Yeol Oh
The story is set in 2092 and follows the crew of The Victory, a space trash collection ship. Their business agreement is put in danger when they uncover the existence of a humanoid robot called Dorothy that is believed to be capable of causing enormous devastation.
To replicate Earth’s natural processes, the UTS Corporation is building a new orbiting home for humanity. They gather space debris floating in Earth’s orbit and sell it to a business factory for their existence. It becomes out that Dorothy, a robot built by the terrorist organization Black Fox, has a weapon of mass devastation within her. If the other person is, in fact, a member of the Black Fox gang, they offer two million dollars in exchange for Dorothy’s return. Dorothy, Tae-ho, and Tiger discover a team of space trash collectors working for Black Fox.
Tae Ho is the only one who responds to Dorothy. Dorothy draws and plays as the group returns to the ship. Jang looks through Dorothy’s bag and discovers documents. Dorothy tells Tae Ho that her Korean name is Kot-Nim, but Tae Ho ignores her, believing she’s a robot. Kot-Nim is the daughter of South Koreans Tae-ho and Su-ni.
Several UTS troops abducted her and intended to explode a nuclear bomb on her father’s spacecraft. A team of Black Foxes will find Dr. Kang and transport him there to reunite her with her father and deactivate the explosives. In a cosmic debris field, nanobots begin to devour their spacecraft, destroying it. Kot-nim interacts with them, and the Nanobots scatter as a result of his actions. A message is sent to the other Space Sweepers, who respond by helping the squad.
UTS apologizes for obfuscating its real intentions after the war and promises to make Earth more livable. As a result of Kot-adoption, Nim’s Tae-Ho can say goodbye to Su-ni, and Bubs is given a skin transplant.
Space Sweepers is not Alfonso Cuaron’s Gravity, but it is a space optomechanics of quickly spinning bodies that captures the director’s attention in low orbital physics. Victory hurtles across a crowded, industrialized emptiness on a shockingly low budget, ravishing the sight and overpowering the ear with its music. Even though the room may never look like this, it might quickly feel like it: frantic, packed, irrational, and unforgiving.