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This paper aims to explore the parallax view of KAPF literature in South and North Korea by focusing on the ¡®KAPF Writer's Section¡¯ of the North Korean multi-part film ¡®The Nation and Destiny¡¯. The KAPF Writer's Section is a nine-part epic drama that runs for 12 hours and 30 minutes, from episode 34 to 42. It is also a kind of road movie. The protagonist of the film is the poet Lee Chan. The film tells the story of a poet's journey from a national poet to a revolutionary poet, using a checkered structure of the present and the past. The film emphasizes ideology(anti-Japanese revolutionary literature) over form. The film also features a schematic nature that strives to create the form of the leader, who is symbolized by the sun. The poet Lee Chan is evaluated as both a KAPF and a pro-Japanese poet in South Korea, but in North Korea, he is evaluated as a revolutionary poet who wrote the poem ¡°A Song of General Kim Il-sung.¡± Therefore, the film creates a point of contact between the KAPF and Kim Il-sung through a KAPF poet who travels to find Kim Il-sung, who is a symbol of the anti-Japanese partisan. The film also portrays Lee Gwang-su, who is constantly in conflict with Lee Chan, as a cunning character. That is a point that reveals a very different difference from the South Korean perspective. As a result, there is a significant distortion of facts. The reason for such distortions in the film is that it uses a strategy that relies on national common emotions as a tool to impress the people and promote ideology. The problem is the consciousness that thinks that some degree of distortion of phenomena or facts is not a problem when it is based on ¡®national common emotions¡¯. It can be confirmed that such consciousness is becoming the origin of the parallax view between the two Koreas. In conclusion, if we assume that this study is based on unification literature, the history of unification literature should come from the confirmation of the parallax view between the two Koreas.