|Opening Film (7)||New currents (29)|
|Queer Rainbow (16)||Girls on Film (20)|
|Asian Short Film & Video Competition (19)||Focus on PENG Xiaolian (5)|
|Open Cinema (6)||Female Bodies: Biopolitics and Body Politics (11)|
|Fantastic Women\'s Cinema: Women in Paraxis (9)||Curtain Call (11)|
|97-07 Women\'s Cinema in Korea (11)||Documentary Ock Rang Award (1)|
|Media Workshop for Women Migrants (1)|
The Gleaners and I begins with Millet’s painting, ‘The Gleaners’ as Varda constructs this film as if she is writing a diary, in a subjective style. Individuals who gather up leftover grains and fruits at the end of the harvest, pick up oysters by the muddy riverside, live off garbage, and even make artworks from the trash; the film captures these diverse characters collecting diverse objects in diverse locations. The results are the rediscovery of our relationships to material objects and to each other, and a sincerity by which meaningless objects can be transformed into an amazing artwork. If the depiction of poor farmers and urban homeless people indirectly reveal the internal contradictions of French society, then the reckless spending of modern society is being criticized through the voices of recycling artists and environmental activists. (JOO You-shin)
Agnès VARDAAgnès VARDA
Born in Ixelles, Brussels on May 30, 1928 and died on March 29, 2019.
VARDA was an extraordinary artist who pioneered modern cinema through installation arts, photography, live action films, and documentaries. As the mother of the Nouvelle Vague, she is also known as a pioneer of female films not only in France but throughout the world. As an expressive feminist, VARDA is famous for her critical essays on documentary-like reality and her interests on everyday life, photography, and arts.