Cinema in the City
2020.02.01 12:31
MoMA 다큐 영화제 '그림자꽃'(이승준) '해외로'(윤성아) 상영
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Shadow Flowers이승준 감독의 다큐멘터리 '그림자꽃(Shadow Flowers, 2020)'과 윤성아 감독의 '해외로(Overseas, 2019)'가 뉴욕현대미술관(MoMA)의 다큐멘터리 영화제 2020 Doc-Fortnight(2/5-19)에서 상영된다.
'그림자꽃'은 북한 여성이 중국의 친척을 방문했다가 탈북 브로커의 사기로 남한에 왔다가 고향으로 돌아가고 싶지만, 그 희망이 아득해진다. 이승준 감독은 세월호 다큐멘터리 '부재의 기억(In The Absence)'이 제 92회 아카데미상 단편다큐멘터리상 후보에 올라 있다. 2월 11일 오후 7시(*감독 소개), 17일 오후 1시.
이승준 감독은 '신의 아이들'로 2009 서울국제청소년영화제 SIYFF 관객상, '달팽이의 별'로 2011 암스테르담 국제다큐멘터리영화제 장편 다큐멘터리상, '달에 부는 바람'으로 2014 EBS 국제다큐영화제 유니세프 특별상, '그림자꽃'으로 2019 DMZ 국제다큐멘터리영화제 최우수 한국 다큐멘터리상 등을 수상했다. 시청각 장애인들의 일상을 담은 다큐멘터리 '달팽이의 별(Planet of Snail)'는 2012년 뉴욕 트라이베카 영화제에 초청됐으며, 필름포럼에서 개봉됐다.
'해외로'는 내니 수출국이 된 필리핀. 외국에서 가사 도우미로 살고 있는 필리핀 여성들의 이야기를 담은 다큐멘터리로 2019 로카르노 영화제, 부산국제영화제 등지에서 상영된 바 있다. 윤성아 감독은 한국에서 태어나 프랑스에서 성장했으며, 벨기에 영화학교를 졸업했다. 2월 9일 오후 7시 30분, 13일 오후 4시 30분.
Doc Fortnight 2020
February 05, 2020 – February 19, 2020
The Museum of Modern Art
The Museum of Modern Art announces the full festival lineup for Doc Fortnight 2020, the 19th edition of its annual showcase of outstanding and innovative nonfiction film. This year’s festival, which runs from February 5 to 19, 2020, includes over 28 documentary features and short film pairings, 12 world premieres, 17 North American premieres, and 14 US premieres from 38 countries. Doc Fortnight 2020 presents new works by Michael Almereyda, Terence Nance, Denis Côté, Sky Hopinka, Lucretia Martel, Akosua Adoma Owusu, Ben Rivers, Lynne Sachs, Kazuhiro Soda, Roger Ross Williams, Maya Khoury and the Abounaddara Collective, and many others. Doc Fortnight 2020 is organized by Joshua Siegel, Curator; with Stergios Dinopoulos, 12-Month Intern, Department of Film, The Museum of Modern Art. The accompanying sidebar Nonfiction+ is organized by Kathy Brew, Consulting Curator.
Doc Fortnight 2020 opens with the New York premiere of Crip Camp, a portrait of Camp Jened—a camp for disabled teenagers near Woodstock, New York, that thrived in the late
1960s and ’70s—which established a close-knit community of campers who would become pioneering disability advocates. The film is codirected and produced by Nicole Newnham and James LeBrecht, who attended the camp.
This year’s featured documentaries range from stories of influential cultural figures, such as Delphine Seyrig, Raymond Pettibon, Barbara Hammer, Felix Kubin, Agnes Gund and John Ashbery, to portraits of places as varied as a supermarket in Saõ Paulo (My Darling Supermarket), a radio station in Serbia (Speak So I Can See You), a hospitality school for aspiring waiters in Italy (The Young Observant), an Icelandic village during the grim holiday season (Echo), and the world’s largest retirement community, in Florida (Some Kind of Heaven).
Violence toward women in multiple, complex forms is an urgent theme in this year’s selections. The subject is confronted in such films as Sunless Shadows, about Iranian teenage
girls in prison for murdering their abusive male relatives; Overseas, about Filipina women learning to cope with virtual enslavement in their domestic jobs abroad; La Mami, about the wise but worn-down dressing-room attendant at a famous cabaret in Mexico City; That which Does Not Kill, about the rape of a young Belgian woman seen through the prism of experiences of ordinary women and men.
African and African diaspora themes of exile, liberation, identity, and the legacy of colonialism are considered with originality in Lemohang Jeremiah Mosese’s Mother, I Am Suffocating. This Is My Last Film About You; Akosua Adoma Owusu’s Welcome to the Jungle trilogy; and Billy Woodberry’s A Story of Africa. Compassionate approaches to mental illness are depicted in Kazuhiro Soda’s Zero, the centerpiece of Doc Fortnight 2020, and Olivier Zabat’s Arguments.
The ongoing evolution of interactive media and the documentary form is explored in the new sidebar program Nonfiction+. Highlights include a program on interactive and immersive documentary art, presented by Caspar Sonnen (IDFA); Red Hero, an international collaborative online project devoted to the arts and culture of Mongolia; a live cinematic essay-performance by Tiffany Shlain; a hyrbrid film by Anamika Haksar, and Roger Ross Williams’ first venture into VR cinema with Traveling While Black.
This year’s program includes two joint presentation of Modern Mondays and Doc Fortnight: An Evening with 13BC and An Evening with Basma alSharif and Sky Hopinka. The New York–based collective 13BC will present two of their most recent works: the New York premiere of Straight Flush, and its companion piece, Corpse Cleaner. For An Evening with Basma alSharif(Egypt) and Sky Hopinka (Ho-Chunk Nation), will present their work together, in conversation for the first time.
The closing-night film is the New York premiere of Lance Oppenheim’s Some Kind of Heaven. This eye-opening account of the world’s largest retirement community, in central Florida, follows four protagonists struggling to find happiness and meaning in the “Disneyland for Retirees.”
Overseas. 2019. France/Belgium. Directed by Sung-a Yoon. 90 min.
Overseas is a disturbing look at a training center for Filipina women who are leaving their own young children and elderly parents to become domestic maids and nannies abroad, principally in Asia and the Middle East. Through role-playing exercises, the woman must confront the prospect of sexual assault, verbal abuse, and virtual enslavement in the homes where they will work. Courtesy Cat&Docs. In Tagalog, Ilonggo, English; English subtitles.
Sun, Feb 9, 7:30 (introduced by Yoon); Thu, Feb 13, 4:30. T2
Shadow Flowers. 2019. South Korea. Directed by Seung-Jun Yi. 109 min. North American premiere
Turning conventional (Western) wisdom on its head, Seung-jun Yi’s surprising documentary follows a North Korean woman who unwittingly ended up in South Korea in 2011 and has agonized for the past eight years in seeking permission to return to her beloved homeland and family. Courtesy Taskovski Films. In Korean; English subtitles.
Tue, Feb 11, 7:00 (introduced by the filmmaker, T1); Mon, Feb 17, 1:00 (T3)
사람들 사이엔 선이 있다: 흑백으로 다시 본 봉준호 감독의 걸작 ...
