|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)|
Would-be feminist Yoanna, running her own company, is insulted in a phone booth by a stranger named Yong-ho. While searching for a job, Yong-ho applies to a magazine named ‘The Modern Woman’, not knowing that the company’s boss is in fact Yoanna. She hires him with the intention of paying back the humiliation she received. But his masculine attitude captivates her.
A Female Boss is a transition from ‘women above men’ to ‘men above women’ as it follows the process of how SHIN Yoanna(JO Mi-ryeong) gives up her title of CEO and accepts the role of being a housewife who cooks stew in the kitchen. When the company that publishes a magazine called ‘New Woman’ loses its CEO, it acknowledges her husband as her successor, and Yoanna, who had refused to get married because she believed that all the men in the world are sloppy, still gets married, the question whether this is a happy ending or not goes beyond the conventions of the romantic comedy. What is clear, however, is that director HAN Hyung-mo once again presents his own solution to the men and women who are just starting a power struggle within homes and society with the standards of democracy and equality, just as he did with Madame Freedom played by JO Mi-ryeong, the reigning ‘queen of Korean romantic comedies’. Men and women working together in a company and the images of Seoul that they move around in are now as much a part of daily city life that is experienced through the senses as is with their love stories. The vitality of Seoul in the 50‘s, which is a decade where the horrors of the Korean war had already lifted, the positions of men and women in modern urban life, and their actions and words in this film all move to the rhythm of romance and they even succeed in slightly cover up the ‘conservatism’. (BYUN Jai-ran)
HAN HyeongmoHAN Hyeongmo
Born in 1917, Pyeong-an province. HAN Hyung-mo made an acquaintance with the film director CHOI In-kyu through participating in the arts for the film An Angel without a House (1941), which CHOI directed. With CHOI’s recommendation HAN was able to enter Dong Bo Films in Japan where he learned to shoot. HAN’s ability in arts and shooting found its place when he directed Breaking the Wall (1949). He remained affectionate to shooting all his life; thus he directed 18 movies and filmed 15. He had incredible talent in revealing the historical present with much ease.