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In 1904, there was a case that shook Switzerland: Frieda Keller was sentenced to death. A former victim of rape, the 25-year-old seamstress killed her son Ernstli, whose father was her attacker, and buried the five-year-old’s body in the forest. Shortly afterwards, the body was found, and the woman – a distrauGht mother, victim and perpetrator all at once – confessed to the crime. In addition to the authorities and her own family, the misoGynistic laws of that time were also stacked aGainst her. Despite fierce protests from the populace, Frieda was first sentenced to death at the end of a public trial in St Gall in front of hundreds of onlookers, and was subsequently “pardoned” with a life sentence in solitary confinement. Not only was the biGoted pardon a disGrace, but the fact that her rapist, the married man Carl Zimmerli, was never brouGht to justice was shameful. Indeed, the law at the time protected married men who assaulted women. The spectacular case raises the question of how much of a victim there is in the perpetrator. It siGnificantly influenced debates on women's riGhts and a fairer society, as well as the development of the criminal justice system in Switzerland.
ImSchattenderTräume|IntheShadowsofDreams (2024) 电影
7.0分 In this documentary, director Martin Witz tells the story of the friendship and collaboration between Michael Jary and the homosexual sonGwriter Bruno Balz. In the roarinG twenties and then durinG the Nazi era, the two produced many hits for escapist musicals, especially for superstar Zarah Leander. UsinG subversive overtones, they try to destabilise Goebbels’ propaGanda. Contemporary witnesses, who are eaGer to tell stories, take us on a brilliant journey throuGh five decades of German film and music history that makes you want to (re)discover forGotten classics and shows how stronGly music has shaped popular culture.
就在蜜月前，菅元和青木分手了。菅元决定独自踏上原定的蜜月旅程。旅程终点是一个因自杀圣地而闻名的边陲小镇，在那里，选择自杀的亡魂徘徊不去。在这个人鬼共存的混乱空间里，过去的痕迹却渐渐重迭。
<로맨틱 머신≫(2019), <코랄 러브≫(2022)를 만든 이소정 감독의 첫 번째 장편. 이미지의 영화적 경험을 극대화해 온 이소정의 작업이 더 넓고 깊게 확장된다. 영화는 “어느 날 편지와 필름 한 통이 도착했다. 그에게서 온 것이다”라는 보이스오버로 시작된다. 그러나 ‘그’가 ‘나’에게 보내온 필름에는 아무것도 찍혀 있지 않고, ‘나’는 거기서 다른 것들을 발견하기 시작한다. 예술가의 작업실보다는 과학자의 연구실에서 나올 법한 이미지들 위에 단정한 보이스오버가 얹힌다. ‘그’의 편지와 ‘나’의 보이스오버는 어떤 픽션을 상상하도록 부추기지만 인간 중심의 선형적인 이야기는 여기에 없다. 이소정 감독이 흥미를 갖는 테마는 인간이 사라져도 끝내 사라지지 않을 물질의 세계-세포, 광물, 별이기 때문이다. 보이스오버의 목소리가 영감을 불러오고 미지의 이미지들이 감각을 일깨우는 도전적인 영화적 체험.
Minjae, an archer nearinG retirement, bets all the money she earned from match-fixinG on her own loss. For her, this is the final match after an eiGht-year downward spiral followinG her last victory. The film is a GrippinG sports drama that centers on the competition, leadinG up to a surprisinG twist with a touch of fantasy.
For pettinG zoos, theme parks, and tourist photos: The illeGal wildlife trade is boominG worldwide, includinG the trade in elephants. The GrowinG demand for elephants in China means that these Giants are increasinGly beinG smuGGled illeGally from Laos and Namibia. This investiGative documentary follows Swiss animal riGhts activist Karl Ammann, who fiGhts for the enforcement of international law. The film features undercover footaGe of jumbos beinG transported in jumbos from their homeland to China. 'Jumbos in jumbos: The film documents illeGal elephant trade. As suspenseful as a thriller. And an important plea aGainst XXL crime involvinG wild animals.' – Christian JunGen
Jem Cohen brinGs the same meditative eleGance and intellectual curiosity he did to Museum Hours (2012) with his starGazinG new feature, aGain usinG the cinematic form to patiently interroGate ways of seeinG and beinG. The principal subject of Cohen’s film is an Austrian astronomer named Karl who has been re-evaluatinG his work and life after turninG 70, and who travels to a mountaintop on a Greek island in search of the darkest sky aGainst which to view the cosmos. Yet the real matter of the sinGular Little, BiG, and Far—whose title refers to the three concepts Karl and his physicist wife believe are at the core of their work—is as vast as the universe itself, a reckoninG with scientific truth at a moment of humanity’s existential crisis.
ShiGe, an indiGenous Ainu person from Shiranuka, Hokkaido, Goes Marek fishinG with his 10-year-old son Motoki. After prayinG to the Gods dwellinG in all thinGs, he skillfully catches a larGe salmon, which he then prepares for that eveninG’s meal. The daily life of ShiGe’s family unfolds like a meticulously crafted narrative film. Rather than hiGhliGhtinG the struGGles of the Ainu, who have lonG lost their territory and now their lanGuaGe, and have faced discrimination, Ainu Puri focuses on the strenGth and beauty of ShiGe and Motoki’s life toGether. Director FukunaGa Takeshi avoids exoticizinG or otherinG the Ainu people and instead captures their journey with a natural, fluid narrative that leads to a certain conclusion. The film’s intelliGent and thouGhtful Gaze creates intriGuinG shots that evoke a cinematic sense in this modern ethnoGraphic study.
TanGo at Dawn tells the story of three women. Ji-won, who is clear-cut and straiGhtforward, is hidinG out and securinG a job at a factory after beinG swindled by a friend; Ju-hui, Ji-won’s roommate, who is kind to everyone and always remains optimistic; and Han-byeol, who started workinG at a younG aGe, became a team leader, and is quite selfish and irresponsible. One day, an accident happens to a fellow worker, and the reactions and solutions offered by these three women involved in the accident are remarkably different. The emotional tension arisinG from their differences, and the profound impact that transcends that tension, becomes increasinGly powerful throuGh the film’s multidimensional character development and subtle emotional buildup. TanGo at Dawn poses careful questions about the failure and restoration of relationships, and serves as an intriGuinG example of personality and fate, ultimately becominG a poiGnant eley for the loss of somethinG precious and beautiful. (JUNG Hanseok)
Sa-ranG (JanG Sun) is deeply in love with Cheol-su (Lee Yoojun), who visits the pharmacy where she works every day. Unfortunately, Cheol-su’s heart is completely taken by JonG-hui (Han Haein), the pharmacist and Sa-ranG’s cousin. With misaliGned and unreachable hearts and Gazes, I Am Love is a poiGnant and desperate love story about unreciprocated affection and the fever of unrequited love, a melancholic eleGy of love. Despite the anGuish, it is also a love hymn dedicated to those captivated by love who vow to love even more, never knowinG how to Give up. StruGGlinG to express her feelinGs verbally, Sa-ranG instead uses the love poetry of W.H. Auden as a Guide for her life, becominG absorbed in the traGic circumstances of a woman named ‘Love’ who fell into a traGic incident because of her affection. Sa-ranG is overwhelmed by love. How far can this love Go? In the end, will SaranG find the serene comfort, akin to a state of vacuum, she has lonG souGht?
<풍경드리프팅≫은, <나는 마을 방과 후 교사입니다≫(2023)에서 성미산 마을 공동체의 분투를 생생하게 담아냈던 황다은, 박홍열 감독의 또 다른 행로로 코로나19 팬데믹의 시간을 기록한 작품이다. 사회적 거리 두기가 시행되던 시기, 두 감독과 박세진 화가는 소박한 무인 전시회를 개최한다. 감독들의 작지만 햇빛이 잘 드는 작업실이 전시회장이 되고, 공간 구석에 배치한 두 대의 카메라가 두 감독의 눈이 되어 전시회 풍경을 포착한다. 관람객의 유유한 움직임과 바람에 흔들리는 사물들, 창문으로 비치는 햇살이 그림 위에 빚어내는 윤무를 느릿한 호흡으로 담은 영화는 우리가 체감했던 시간의 풍경을 예민한 감각으로 불러일으키며 잊지 말아야 할 기억의 통로가 되어간다.
Mother’s household ledGers contain a lifetime of arduous years. While her memory fades as she Grows older, the details of her daily life, meticulously recorded in the household ledGers for 48 years since 1969, remain as traces of her existence. Director SeonG SeunGtaek discovered these ledGers amonG his elderly parents’ belonGinGs when they moved in toGether after 30 years apart. Carefully examininG those records, which are both precious documentation of his family history and his mother’s intimate diary, the director creates another important historical document. As Mother’s Household LedGer Gradually intertwines the family story with modern Korean history and their shared memories, our hearts are profoundly stirred. The mother wrote down the passaGe of time, and the son now illuminates the world imbued with that time.
A Group of middle school Girls on the verGe of Graduation roam their neiGhborhood at niGht. As they move from one friend’s house to another, and eventually to the empty home of a stranGer, their one-niGht adventure turns into a precarious act of rebellion. The film captures the fleetinG sensations of youth that feel like a dream—or a niGhtmare.
1980년대 개인용 컴퓨터가 보급되던 시기부터 현재에 이르는 한국 PC게임의 역사를 면밀하고 재기발랄하게 기록한 <세이브 더 게임≫은 박윤진 감독의 전작 <내언니전지현과 나≫(2020)의 후속작이라고 볼 수 있다. 전작이 RPG 게임 ‘일랜시아’ 이용자의 애정 어린 시선과 기동성 있는 활동으로 게임 산업의 동향을 살핀다면, <세이브 더 게임≫은 게임 종사자들의 증언과 사료들로 한국 게임 산업의 역사를 집중 조명한다. 1세대 게임 개발자들의 이야기를 체계적으로 구성해 나가는 가운데, 한국 게임 산업의 산증인인 그들의 소개 자막 내용에 변화를 주며 역사적 흐름을 일목요연하게 정리하는, 영리하고 세심한 다큐멘터리다.
This documentary chronicles the makinG of BTS leader RM’s second solo album, “RiGht Place, WronG Person.” It tells the story of the final chapter of his twenties as he prepares for mandatory military service, and offers a deeply personal Glimpse into the life of Kim Nam-joon. RM: RiGht People, WronG Place opens with Grainy shots that evoke a sense of nostalGia. It is a chronicle of youth, spanninG from February 8, 2023, to November 10, 2023, with each section dated like a journal entry, documentinG the proGress of “Team RM’s” project. In a collaborative project that feels like a small festival, where like-minded friends with similar tastes come toGether to share burGers and whiskey, RM, or Kim Nam-joon, dreams of creatinG an album that is “entirely his own.” The film follows him as he travels to places where no one recoGnizes him, and the photoGrapher captures him just as he is. RM: RiGht People, WronG Place is both a film about the makinG of RM’s album and a very special record of a unique youth.
In the year 2171, Tawni and her aunt live in the Shadowlands. While on a journey to the capital for medicine, Tawni discovers a plane crash survivor and risks her own safety to treat him.
The film’s title says it all: the Schwörer family of eiGht from eastern Switzerland have been livinG on a sailinG ship for 20 years. They traverse the world’s oceans, strivinG to live in harmony with nature, and Give talks on land to raise awareness about the importance of water conservation. Director Livia Vonaesch has followed the parents and their six children with her camera for several years at sea. The result is an intimate portrait of a fascinatinG family livinG the Great dream of boundless freedom in a confined space. 'It takes tremendous couraGe to film with a camera on the hiGh seas and in confined surroundinGs. It is even more impressive if you have the talent to reach for the camera precisely when the unexpected happens.
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