|Opening Film (9)||New Currents (39)|
|120 Years of French Women’s Cinema, 1896-2016: from Alice Guy-Blaché to New Generation (27)||Polemics: Comfort Women - Memory, Commemoration and Films (6)|
|Queer Rainbow (11)||Asian Short Film & Video Competition (19)|
|I-TEENS (7)||Documentary Ock Rang Award (1)|
|Barrier Free Screening (1)||A Woman Judge, 1962X2016 (1)|
|In Memory of Chantal Akerman: Nowhere and Everywhere (4)|
SYNOPSIS Gerald Hutton and his lovely wife Diana grow suspicious of one another through (false) circumstantial evidence. At a lawyer\'s suggestion \"they agree to live separately together.\" Very soon, both regret agreeing not to speak to one another. Program Note Gerald and Diana are a newlywed couple from the middle class.
A series of trivial misunderstandings lead to a quarrel, and they decide to
separate. What the lawyer recommends is for them to live separate but together
in the same house. Soon they experience lots of inconvenience and regret
agreeing to the lawyer’s suggestion, but both of them keep on being stubborn.
This comedy film presents a prototype of melodrama in which sexuality, class,
and desires are expressed via the mis-en-scene of inner familial spaces. The
separation within a house reveals how each space is gendered, and the different
spaces that the characters occupy shows us the class differences and desires among
them: Diana from the middle class, Gerald as a working man, and the maid. [CHO
Gerald Hutton and his lovely wife Diana grow suspicious of one another through (false) circumstantial evidence. At a lawyer\'s suggestion \"they agree to live separately together.\" Very soon, both regret agreeing not to speak to one another.
Gerald and Diana are a newlywed couple from the middle class.
Alice GUY-BLACHÉAlice GUY-BLACHÉ
"Born in 1873 in Paris, France, Alice GUY-BLACHÉ was a pioneer of both French and American film. She first started out as the secretary to Léon GAUMONT, unknowingly stepping into the vortex from which cinema would be born. She, who was at the Lumière Brothers' first screening in 1895, realized that movies could do more than document workers leaving a factory. She asked her boss, GAUMONT, for permission to do something better: to tell a story. Despite her youth and inexperience, she wrote her own script and succeeded in making one of the first narrative films, The Cabbage Fairy, in 1896, which preceded the story films of Georges MÉLIÈS. She worked as head of film production for the Gaumont Film Company in Paris until 1907 when she moved to the United States. Three years later, she created her own company, Solax, and set up a studio in 1912, becoming the first woman to own and run a studio plant. Her innovative filmmaking career in France (1896-1907) and the United States (1910-1920), in which she employed color tinting, 'trick' photography, interracial casting, and synchronized sound, is comprised of more than a thousand films which she wrote, produced, or directed. Despite the depth of her work, her contribution in shaping early cinematic history has been overlooked, and she is often revered as a lost great visionary of cinema.