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The first Chinese film maker from Korean ethnicity, Jang Ryul is also the first Korean director from Chinese background. As a diaspora himself, he crosses over two countries, trying to look through diaspora viewpoint at diaspora phenomena widely scattered in Northeast Asia. This paper is written in an effort to closely consider his story and style through 3 films, <Grain in ear>, <Desert Dream>, and <Iri>. The main character in <Grain in ear> is a Korean Chinese woman, Choi Sun Hee, who sells Kimchi in outskirt of a city. <Desert Dream> is the story about the relationship between Hangai, a Mongolian man who plants trees in deserted prairie and North Korean mother and son in defection from North Korea. <Iri> treats a group of characters floating around in Iri, the city that was vanished by the explosion 30 years ago. The first thing of the style of Jang Ryul building the diaspora viewpoint is time, crossing the floating space. The second one is the inversion of on-screen space and off-screen space or center and periphery. The third one is the absence of language. Given the fact that discourses about the identity of East Asia flourish these days, his movies, as the fruit of consistent attempt to search for East Asian identity within the filmmaking process, deserve more attentions.