Voices

If you look into the entrance of one of the huge caves on the Korean island of Jeju, it looks like a camera lens. If you walk into the cave, it looks like a screen, a rectangle showing clouds and white light, just like a film. Director Kim Minjung delves into the bloody history of Jeju, where tens of thousands were killed in a massacre in 1948. The camera follows the traces in the landscape, sometimes transformed by a strident, distance-creating red light, accompanied by a commentary by avant-garde filmmaker Hollis Frampton. Film as a means to address history and its taboos.

According to a survey by the U.S. military government in 1946, 78% of the South Korean people wanted socialism and only 14% capitalism. By appointing the pro-Japanese collaborators and the rightists, Rhee Syngman, who had not received the people's support, massacred those groups and civilians that were political stumbling blocks. In dealing with the Jeju 4.3 uprising in 1947 and the Yeosun incident in 1948 and The Korean War having broken out, massive civilian massacre became regularized.

The Shooters

Wan-soon, a 9-year-old girl living on the island, managed to survive a massacre that took place 75 years ago. The lingering effects of this unresolved ordeal are emphasized, and the girl embarks on a journey to depict the vivid red fragments that remain in her memory, using a red colored pencil as her means of expression.

There are five grandmothers, four of whom went to Jeonju Prison due to the Jeju 4.3. All of them were young people around the age of 20 at the time of the incident in 1948. The outline of the incident is formed when hearing the experiences of those who were sent to prison without trial particularly as women. The audience feels indescribable emotions by the fact that they have lived on despite what they had gone through, things that are just too much for a human being to bear.

Confronting half of her mother’s life—her mother who had survived the Jeju April 3 Incident—the director tries to scoop out disappearing memories. A tale of family, which carries on from Dear Pyongyang, carving out the cruelty of history, and questioning the precarious existence of the nation-state.

The oral writer of the April 3 Uprising and a Rwandan who came to Korea to study face each other, have a conversation, and then go on a trip hand in hand. The two people, from different generations, nationalities, and occupations, have something in common: they are the daughters of massacre survivors.

Focusing on Mrs. Kang Sang-hee’s life, she lost her husband in the Jeju Uprising (March 3rd, 1948). The film views the dark-side of Jeju Island, a huge grave, which is completely opposite of the other side of the island, the famous tourist attraction. It says that the tragedy has been going on about the recent Gang-jeong village situation.

없는 노래

The late Kim Dong-il, a Jeju April 3 refugee in Japan, left behind over 2,000 crocheted items and pieces of clothing that preserved her memories, identity, and history. As the film traces the redistribution of her belongings, it illuminates the still-unhealed lives of various Zainichi Koreans who lived through the same era, sharing and connecting their intertwined memories.

Immediately after liberation, an incident called 'Jeju Uprising' took place on Jeju Island, the Hawaii of Korea, under the control of the US military government. As a result, about one-tenth of the total population of the island at that time was sacrificed. The children who survived the massacre record the memories of that day in an animated film 70 years later.

My Name is

On October 15, 2003, in a quiet autumn day at a high-rise apartment. Hwang Ga leisurely waters the plants on the balcony. At the same time, Hyung-min, a man in his sixties, lives in an old house on the outskirts of the city. As the local news on TV announces the confirmation of the "Jeju 4·3 Incident Truth Report," the two elderly men reminisce about their similar yet distinctly different pasts. The first independent film from Jeju Island.

The populace of a South Korean island rebels against police brutality. The protesters are labeled as communists, and the army is dispatched.

Jin-Myung is a psychiatrist and exorcist. With his assistant, Ji-Kwang, they attempt an exorcism on Geum-Joo. She suffers from a bizarre phenomenon. They then face a powerful existence within Geum-Joo. Extreme horror arises out of her.

The story of a young mother shows her trapped in the massiveness of circumstance. Forced to desert her only child and live with the anxiety, she can only weep. On the island, life is getting much harder, and there is only wind, stone and women.

The exploding cork. Endless tiny bubbles floating up and up in the glass. An indulgence. A celebration. A seduction. A triumph. This is the essence of Champagne, isn’t it? But it’s not just bubbles in a glass that makes the wine, or the mystique. Only sparkling wine produced within the boundaries of the Champagne region is truly “Champagne.” At first glance, the region is not an obvious source of romance. Champagne’s history is grim and bloody, swept by war and destruction from Attila the Hun to the filthy trenches of WWI and the Nazi depredations of WWII. The environment for winemaking is desperately hard — northerly latitude, chalky soil, copious rain, frost, rot. Yet it’s these difficulties that help make the wine unique.

'9-Man' is an independent feature documentary about an isolated and exceptionally athletic Chinese-American sport that's much more than a pastime. Since the 1930s, young men have played this gritty streetball game competitively in the alleys and parking lots of Chinatown. At a time when anti-Chinese sentiment and laws like the Chinese Exclusion Act forced Chinese restaurant workers and laundrymen to socialize exclusively amongst themselves, nine-man offered both escape and fraternity for men who were separated from their families in China and facing extreme discrimination and distrust. Pivoting between oil-spotted Chinatown parking lots and jellyfish-filled banquet scenes, the film captures the spirit of nine-man as players not only battle for a championship but fight to preserve a sport that holds so much history.

This film explains what James Ensor (1860-1949) meant for the development of art and makes palpable where he got his inspiration from.

Director Kevin Booth navigates through the cutting edge of Cannabis research while becoming a foster parent to a child court ordered to take powerful mind altering drugs.