By Blue Un-Sok Kim
The city of Gyeongju holds a special place in the collective psyche of the Korean people. As the former capital of the ancient Korean kingdom of Silla, the city is referred to as a «museum without walls».
By Catherine Jessica Beed
Lee Eun-Joo‘s short is a curious attempt to arrange a dichotomy between the transient beauty of nature in all its abstractions and the artificiality of manufactured objects. As a brief dialogue between the lateral abstract images of wood and foliage and the composition of sound, close-up controlled shots of trees in various states move at a rapid pace against the rise and fall in the musical structure.
By John A. Riley
Hyun-Jun is an actor, specialising in musical theatre. He is given an opportunity to study acting in America, but before venturing abroad, he returns to the small village where he grew up. Once there he re-kindles his acquaintance with his beautiful cousin So-yeon, acquaintance quickly turning to Romantic desire
By Wiwat Lertwiwatwongsa
Out of the blue, Kyung -Min calls his old school friend Jong -suk. The two haven’t seen each other since graduation. They go for a drink and begin to talk. Throughout the night their conversation reveals a darker part of their life: a history of violence during their youth.
By Narda Liotine
To say cinema is a matter of movement tout court is something I personally don’t agree with: To experience film format as a big canvas should imply that one is able to explore every single fragment of a reel and contemplate their unique beauty.
By John A. Riley
Watching an East Asian film, the Anglophone, Euro-Americo-centric viewer comes face to face with an at-first pressing dilemma: whether to incorporate everything one sees into familiar, Western paradigms or whether to defer to the infinite mysteries of the Orient
Por Mónica Delgado
Esta coproducción entre Francia y Algeria es un drama sobre los contornos de la Yihad: un disidente comienza un camino de mea culpa, buscando a las víctimas producto de su «guerra santa», ayudarlas y pedirles perdón.
por Ricardo Adalia Martin
La historia de la representación humana ha sido siempre la de la representación del cuerpo. A falta de otras herramientas, su materialidad orgánica ha servido recurrentemente como ejemplo y metáfora de todo aquello circunscrito al orden de lo invisible de una existencia. ¿Esencia? ¿Espíritu? En cualquier caso, dejando al margen lo anecdótico de la denominación que quiera darse, no hubo incidencia alguna mientras escultura y pintura reinaron en el mundo del arte. La palpable solidez que ambas ofrecían como soporte para las imágenes encarnadas logró mantener vinculadas la realidad de su representación.
By John A. Riley
Those who know Tomas Alfredson from his international successes Let the Right One In and Tinker Tailor Soldier Spy are likely to consider him as a director at home with genre material, working with well-known tropes in a highly stylised but somehow unassuming way. His two well known films have a hard-edged indifference that is as exhilarating as it is chilling.
Por Ricardo Adalia Martin
En el cine de Gabriel Abrantes todo parece girar alrededor del número 2; siempre dirige en compañía de otro director y coloca en la escena a dos personajes que representan dos puntos de vistas enfrentados sobre la misma realidad.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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