|Opening Film (1)||New Currents (36)|
|Deep Focus : Feminist Experimental Film/Video (25)||Korean Cinema Retrospective : Femme Fatale of a Thousand Faces, Do Kum-bong (4)|
|Asian Cinema: Filipina Cinema Panorama (9)||Focus on Léa Pool (6)|
|Feminist Film and Video Activism (15)||Asian Short Film & Video Competition (18)|
|Documentary Ock Rang Award (2)||Special Screening (1)|
This is the story of a runaway and a man who takes care of her in the uninhabited mountains of Switzerland. The minimalist images of Savage Woman are outstanding among Pool’s films. The tension rising from desire and the need for freedom, symbolized as savagery, never finds release throughout the film.
The film begins with a scene of a residential neighborhood. There is no one on the gray street, and all the doors are firmly closed, as if concealing in the secrets of each house. A woman with a car key in her bloody hand emerges from one of the houses. This woman hides in the shelter of a nearby dam after failing to kill herself. Elysee, an engineer, crosses paths with her and takes care of her. Eventually they become lovers. The police, in the meantime, spread the dragnet. She asks nothing of Elysee, and to call her only ‘Marianne.’ It seems as though she neither needs him to understand her, nor help her. He, in turn, cannot let her enter his world where he is bound by fatherhood. For each of them, the other’s body is the only refuge where their souls can be at peace for a while.
The huge dam is intensely symbolic. The landscape surrounding the dam is so cold that it is able to chill us as viewers. This stiff gray image brings up the image of the city as a prison rather than something emerging from the surrounding nature. It resembles a wall between hearts. (Nam In-young)
Léa PoolLéa Pool