|Opening Film (1)||New Currents (28)|
|Asian Spectrum: The Coming of Age in Asian Women Filmmaking (16)||Polemics: The Constellation of the Violence against Women (12)|
|Actress, Muse with a Movie Camera (7)||Queer Rainbow: Queer×Feminism (10)|
|Open Cinema (5)||Special Screening: Technology and Gender – Virtual Present, Actual Future (2)|
|NAWFF AWARD 2012 (1)||Asian Short Film & Video Competition (18)|
|Documentary Ock Rang Award (1)||Multicultural Media Academy: Talk! Talk! Wings Grow (5)|
|Special Screening: Barrier Free Screening / Promise for 10 Years (3)|
Synopsis Program Note
After India’s father dies in an auto accident, her Uncle Charlie, whom she never knew existed, comes to live with her and her emotionally unstable mother, Evelyn. Soon after his arrival, India begins to suspect this mysterious, charming man has disturbing ulterior motives, but instead of feeling outrage or horror, the friendless girl becomes increasingly infatuated with him.
India loses her father on her 18th birthday. At his funeral, her uncle Charlie shows up for the first time and approach India with a special intimacy. India becomes wary of Charlie’s kindness, but she is attracted to him at the same time, which makes India grow into a mature woman. For India, such growth means becoming conscious of sexuality and violence and knowing how to handle them. As she knows Charlie’s secret, India realizes the violence within her, and the realization has her counterattack against her classmate who harasses her, sexually attracts a boy for whom she has feelings, and leads to her involvement in a murder case. These all excite her, leading to an orgasm. Although all these start from a similarity with Charlie, sharing the same blood, and awakening her power on sexuality and violence, “not a son, nor a daughter” India is completed by ultimately rejecting and sanctioning him. In the scene of murdering the sheriff toward the end of the film, India enjoys herself by masterfully using her new powers – sexuality and violence. It can be seen that the power of a woman’s being as well as the uncontrollability converging on sexuality and the unknown is a traditional way of becoming the otherness of women. However, a girl living in a gothic mansion with no concrete information about time or space, who experiences cynical and dark adolescence and realizes her own power(men think they know her well, but they aren’t able to control her), and takes a loaded gun to the big city while wearing red high heels, creates an appealing character. [HWANG Miyojo]
PARK Chan-wookPARK Chan-wook
PARK Chan-wook is a Korean film director who has internationally emerged as one of the most significant talents in cinema in recent years. He is best known for his films Joint Security Area (2000), Thirst (2009) and what has become known as The Vengeance Trilogy’ consisting of Sympathy for Mr. Vengeance (2002), Old Boy (2003) and Lady Vengeance (2005). Stoker is his first English language film.