Gwangcheon-dong, Mr.Kim

This year is the 30th anniversary of the Gwangju Democratization Movement. Though the country commemorates the event as the official historical records, it does not include any 'real' accounts of the people who experienced it firsthand. The students who were part of the movement; the female vendors who made rice balls for the students; the female high school students cooked at the government building; now, past their middle age, they live as ordinary citizens in Gwangju city. How is the event remembered by these people?

The title Good Light, Good Air is oddly paradoxical. Keenly working at the point where his artistic identity and persistent attention on modern Korean history meet, director Im in this film focused on where the history of oppression and struggle intersect between Gwangju and Buenos Aires. In both cities, a great number of people who fought against the dictatorship were slaughtered and disappeared. The people of both societies still live with that trauma. When the testimonies of the victims of the two cities cross over, the film gives us chills as the eerie history of the two is very similar. Through Good Light, Good Air, director Im asks us how we will remember the past from where we stand right now.

Cinema Gwangju is the first theater in the Honam-region and the only theater that opened in 1935. The cinema has screened films in its original place up to these days. A musician Gonne Choi invites the seven musicians to share "Gwangju-ness" from her own perspective and they visit the cinema to speak and sing about their own "Withstanding and Existing". This documentary also contains the story of the painter Park Tae-gyu, who continuously has been working on hand-painting movie posters from the 1990s until today.

May, 1980. Man-seob is a taxi driver in Seoul who lives from hand to mouth, raising his young daughter alone. One day, he hears that there is a foreigner who will pay big money for a drive down to Gwangju city. Not knowing that he’s a German journalist with a hidden agenda, Man-seob takes the job.

Eunju, a teenage girl, wants to go to a high school baseball game where the boy she has a crush on will be playing.

The citizens of Gwangju lead a relatively peaceful life, until one day the military takes over the city, accusing the residents of conspiracy and claiming that they are communist sympathisers preparing a revolution against the current government. Seeing as the soldiers beat defenceless people, mainly students, to death, the citizens are in for retaliation and form a militia.

A young girl is caught up in the 1980 Gwangju massacre, where Korean soldiers killed hundreds, if not thousands, of protesters who opposed the country's takeover by the military the year before. Flashbacks show the girl seeing her mother shot to death in the massacre. The film spurred the Korean public to demand the truth behind the incident, and their government eventually opened previously classified files on the massacre.

The son of a freedom fighter, Sang-hun is a member of an anti-Japanese resistance group called "Seongjinhoe," composed of students who share a dedication to the cause of liberation. Their spiritual guide is a teacher named Song Un-in. One day, Yeong-ae, whose brother is a detective in the Japanese police force charged with monitoring independence movements, joins their group. Following a series of sporadic incidents, the students gather one night to resolve on an uprising, but are discovered by the police. Young-ae is wrongfully accused of betraying their plans, but she risks her life in order to allow the group members to escape. The morning after, the students of Gwangju rise up against the Japanese government.

"Le Grand Chef 2" begins with the Korean president visiting the Japanese Prime Minister and becoming involved in a heated debate over the origins of kimchi. The Japanese Prime Minister makes the bold claim that kimchi is an original Japanese dish which sets off the Korean president. Upon the Korean's president return home he sets upon a globalization plan for kimchi, which includes a nationwide "Kimchi Contest". Then, a lady named Jang-eun (Kim Jung-Eun) and her step-brother Sung-Chan (Jin Goo) compete in the Kimchi dish contest, with both siblings using their mother's kimchi recipe.

1980, Kwang-ju is fired up about a genius pitcher, a senior in high school. Ho-chang takes confident strides across the field making his way by cutting through the sand dust. He’s a university scouter on a mission. His task is to scout the genius pitcher, SUN Dong-yeul, a master of baseball who may be scouted to a rival university. But he is no where to be seen. But Ho-chang is determined to not let down his reputation as a successful scouter, and his scouting mission of 10 days begin! An original story of a scouter on a 10 day mission full of undisclosed history will now unfold!

A disgraced chef tries to restore his name by competing in a culinary contest to win the knife of Korea's last royal chef.

This is the story of a father who died mysteriously in May of 1980, a mother who lives in the shadows with a bullet in her head and not being able to forget May 18th and their daughter, and the nation's greatest comedian, Hee-soo.

26 years ago, state troops were ordered to open fire on civilians in the city of Gwangju who were demonstrating as apart of a democratic movement. Thousands of civilians were killed. Now, a shooter from the national team, a gang member, a policeman, CEO from a large company and director of a private security outfit get involved in a plan to convict the person responsible for the massacre.

A tribute to the cartoonist and filmmaker Chaval, aka Yvan Francis Le Louarn.

A fantasia of post-indoctrination, immigration, and iconography. A pageant of wanderers and searchers: Mormon missionaries, a pioneer, polygamists, scouts, hunters, church-goers, and an aspiring prophet walk and walk and walk. A pilgrimage of memory, history, ancestry, and place.

Teem Nov 20, 9:53 min. Teem Nov 21, 22:38 min. Teem Nov 22, 27:31 min. Each projection in this work is a daily morning portrait of Teem, the artist’s partner. As winter approached in late 2007, Teem informed Weerasethakul that he would hibernate until February 2008. As a result, he slept a lot during this time while Weerasethakul observed and sometimes disrupted his partner’s mission with his mobile phone.

BeSound took a chance to film one of these factories during our factory inspections and surveys in Dongguan - the so called manufacturing center of China. We met and interviewed a few factory workers there. Most of them are incredibly young, and belong to the so called ‘post-90s generation’ (born later than 1990). This generation, as a result of China’s one child policy, has traditionally been claimed as ‘the little emperors’, spoiled hugely by their parents. But when they come to work and live in the factory, what is there waiting for them? Difficulties, hope, helplessness, or a better future?

The remarkable life story of the pre-war Polish artist Stanislav Szukalski, documented by the American friends he made late in life.

The fascinating story of Jiyan, a female guerrilla fighter who devoted twenty years of her life in the Kurdish militant struggle, reveals women’s determination for freedom not only against another oppressive regime, but also against the patriarchy. Jiyan Tolhildan is a young Kurdish woman living in the Kurdish region of Syria. After years of oppression by her family, her teachers and the society as a whole, Jiyan decides to go to the mountains to join the Kurdish struggle for freedom. When the Arab Spring breaks out Jiyan and her friends decide to go into the cities in Syria to join the protests. They also set out to educate Syrian women on women’s rights in the Rojava region. Now, six years after the Arab Spring, Kurdish forces have a semi-autonomous region in Syria. For the first time in history, women have an autonomous political organisation and an army in Syria. The women named creating this organisation “the women’s revolution.”

The same route after three and a half centuries... A creative documentary following the footsteps of the Ottoman-Armenian intellectual and traveler Eremya Celebi Komurciyan into the cosmopolitan Istanbul of the 17th century. Long before the invention of cinema, Komurciyan situates himself as a subject who observes the city of Istanbul as if he had a camera in hand. Borrowing Komurciyan’s timeless cine-eye, we delve into contemporary Istanbul to capture what is “inaccessible to the human eye” through the remnants of his route.