This article analyzes the unique capabilities of sound and visual images in The City in the Water (2014) and investigates how ‘affects’ are evoked by these discordantly choreographed audio-visual images. The documentary explores the traces and memories of 300 villages submerged in the manmade Lake Chungju, which was created by the construction of a dam in the 1980s. Unlike in his essay films, the director, Kim Eungsu, rather focuses on the contrapuntal juxtaposition of the images in this film by excluding the essay-style use of his own voice. He operates a soundscape, including sounds of nature around the lake, sounds of an archived radio show, and villagers’ voices and features visual images such as landscapes of the area, close-ups of the villagers, and archival photographs. While sounds of unknown origin pop up to reverberate, the camera focuses on what is visible on the screen as it reveals its gaze. Not in synch, the images appeal to the body of viewer to sense and perceive more than what is visible and audible as offered in the film. Consequently, the images lead us to haptic experiences due to the logic of sense such that what each image represents becomes more obscure and complex, and we may be affected such that we perceive a new time-memory. As these non-representational images provoke affect, the film renders our experience over the spatialization of time. Finally, the film summons the past, which could not be seen or heard, to ‘now-here’, for the viewers to sense and perceive. We, now, can invite history as image and the film becomes time-image cinema. This study examines why viewers experience such embodied affects.