|Opening Film (1)||New Currents (29)|
|Young Feminist Forum (11)||Korean Cinema Retrospective: Confessing Women (4)|
|Turkish Cinema Panorama: Living as a Woman in Islamic Culture (7)||Focus on Věra Chytilová (6)|
|Feminist Film and Video Activism (9)||Asian Short Film & Video Competition (18)|
|Documentary Ock Rang Award (1)|
Sung-hee, the wife of a high-ranking diplomat, is arrested for the attempted murder of her former classmate, Young-Sook. Sung-hee refuses to reveal her motive publicly, but Young-sook comes to her attacker’s rescue and confesses the whole story. As the film unfolds, we discover the limitations of the male perspective (as symbolized by the legal system) in truly comprehending the bonds of reproduction, friendship and secrecy shared by two women.
It’s Not Her Sin explores the nature of sexuality and motherhood by contrasting the sterility of a rich, married woman with the open sexuality of an unwed mother. With echoes of film noir, the story also reveals how women’s private truth is distorted and turned into a “social scandal” that is to be put on trial. By focusing on ‘why’ rather than ‘who committed the crime’, the film reveals the superiority of women’s storytelling which focuses on gradual life transformations, context, and relationships, rather than the male judicial values which always seek to define ‘the victim and the criminal’ and ‘falsehood and truth’. It’s Not Her Sin shows how solidarity and unspoken bonds between two women can be a powerful threat to a often misguided patriarchal society. (Joo You-shin)
Shin Sang-okShin Sang-ok
Born in 1925, Shin Sang-ok studied painting in Japan and returned to Korea in 1945. He began his film career at Koryeo Film Production as an assistant director to Choi In-kyu. In 1950, he founded his own company, Shin Sang-ok Production and made his debut film, The Evil Night in the midst of the Korean War in 1952. With the huge success of Seong Chun-Hyang (1961), he positioned himself as the No. 1 director and producer in Korea and led the Korean cinema boom in sixties. He is also a prominent figure in Asian Cinema; and was an influential filmmaker in Hong Kong as well. His major filmography includes A Romantic Papa (1960), Mother and a Guest (1961), Deaf Samryong-i (1964) King’s Father (1968), Women of Yi-Dynasty (1969) and War and Human Being (1971).