Byun Young-joo
Director Chung Ji-Young criticizes the thought that older directors have difficulties in making certain movies. Actress Yoon Jin-Seo agonizes over her identity as an actress. In 2009, before the movie "Unbowed" was made, they met and planned a documentary about Korean movies, including the processes a Korean movie goes through and difficulites. "Ari Ari the Korean Cinema" is a documentary with interviews of Korean directors, actors and actresses.
A documentary consisting of twenty-two Korean directors' interviews about Kim Ki-young and respect for his work and the influence
Reveals the courageous lives of pioneer camerawomen from Hollywood to Bollywood, from war zones to children’s laughter, in a way that has never been seen before. Based on a book by Alexis Krasilovsky, the film tells the stories of camerawomen surviving the odds in Afghanistan, Australia, Canada, China, France, Germany, India, Iran, Mexico, the U.S. and other countries, as well as exploring their individual visions.
Five high school teens on their way to college. But gradually they go through the struggles of life and end up discovering who they are and what it is they truly want in life.
In revenge for her husband's infidelity, a young beautiful housewife, Mi-heun, starts an affair with an attractive young doctor, In-gyu. Despite her husband's efforts to regain her love and the disapproval by the conservative little town, Mi-huen gradually finds happiness and satisfaction in the affair and decides to turn her back on her quiet life.
Known to court controversy with erotic films like LIES, maverick Korean filmmaker Jang Sun-woo is the subject of the 2001 documentary THE JANG SUN-WOO VARIATIONS. Directed and narrated by British film critic and scholar Tony Rayns, who is well known for his work with Asian cinema, THE JANG SUN-WOO VARIATIONS offers a fascinating profile of Jang's life, mind, and work as he prepares two films, an animated shamanist feature and RESURRECTION OF THE LITTLE MATCH GIRL. The documentary gives voice to Jang through candid interviews and an in-depth look into his films and career, while also placing his work in a wider social and cinematic context and examining the controversy surrounding LIES.
Final chapter of a trilogy documenting the present and past lives of "comfort women".
In World War II Japan forced many South Korean girls into sexual slavery. Known as "comfort woman," they were abducted as teenagers and shipped off to the front to service as many as 30 troopers a day. In 1991, some of them began testifying about their experiences. A "sharing house" was then established for former comfort women and provided the setting for Habitual Sadness, a documentary showing the enduring wounds but strong spirit of these women.
At noon every Wednesday, women who used to be comfort ladies and their supporters demonstrated against the Japanese Government in an attempt to receive an official apology and compensation for damages against Korean women who had been held captive as sex slaves by the imperialist Japanese Army during World War II. Overcaming years of embarrassment and silence, the old women tell us their stories of the past. A house called 'Share' is the shared residence of six women with the same past. Learning Korean alphabet and drawing regardless of weather, they continue their hard lives to overcome the period of regret and pain.
This documentary is an "Asian report" on so-called international prostitution. The subject matter of parasitic tourism in Jeju Island in Korea is focused on, and it is said that international prostitution in Asia has a relationship between countries, focusing on Thailand and Japan, and that it is not only a problem between countries biased by the flow of capital, but also in the context of "sexual culture" with long roots. In the second half, the question is what is the alternative and what is the boundary between prostitution and non-prostitution in the current situation that is considered to be like "ghetto" because it is separated from the life of the general public.
Co-produced by Womenlink and the Feminist Film Collective Parituh, Even Little Grass Has Its Own Name was shot on 16mm film and was the first of its kind in Korea to address the issue of female office workers. The film is divided into two parts. Part 1 is about the conflicts of married female office workers who suffer from undertaking office work, housework, and childcare all at the same time. Part 2 focuses on single female workers who break away from being the traditional ‘flower of the company,’ and develop a greater sense of autonomy as they actively participate in forming a labor union.
