|Opening Film (1)||New Currents (18)|
|Asian Spectrum: Chinese Women’s Cinema in the New Century (6)||Polemics: The Places (8)|
|Ani-x: Dream, Mind and Reality in Animation (36)||Korean Cinema Retrospective: Seoul Flâneuses (10)|
|Queer Rainbow: the Q word (7)||Open Cinema (4)|
|Asian Short Film & Video Competition (16)||Dacumentary Ock Rang Award (1)|
|Media Workshop for Women Migrants: Salad Woman with a Camera of Hope (8)|
An experimental film about filmic experience. In a black and white tone, the film shows darkness by half and the pieces of human body with lights on by the other half. The director closely talks about the balance between darkness and light, which further is brought to the potential image of infinite world open through the intimate communication between them.
The camera stares very still at the dark space of in the bush in the opening of the film. It is unknown to the audiences what is there, unless the camera gets close to the darkest point. The camera takes the audience from the outside to the inside, the inside to the outside. When the intimate negotiation of the in and out occurs the audience starts to questions its boundary. The boundary of in and out space begins to blur with the movement of the camera. The inward of the inside. What exist behind the camera once we are inside? The images of the figures walk out of the darkness that exists behind the camera that leads the wild imagination about infinite world of open possibilities. This is a delicate experimental film about the visible and the invisible and extending and reducing space through the movements of camera and lens. (CHO Hye-young)
JANG Eun-juJANG Eun-ju
JANG Eun-ju has made hand process-oriented films consistently after experimental film Wives in 2006. She awarded Kodak Prize at Seoul Independent Film Festival with the film The Mating Season: Part ll. Secret Beast (2009). She directed The Thin Black Line (2007), Spring-Flowing (2007), The Mating Season : Part I. Strange Dream (2008) and others.