2005-04-03
0
The populace of a South Korean island rebels against police brutality. The protesters are labeled as communists, and the army is dispatched.
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.
In the turmoil of the Jeju 4.3 incident, Jeju Island witnessed the loss of an estimated 25,000 to 30,000 lives, with women constituting a significant yet often unrecognized proportion of the victims. This documentary illuminates the once-shrouded experiences of these women, led by a dedicated Jeju 4.3 researcher.
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.
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.
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.
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.
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.
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.
Filmed somewhat in documentary style, it follows three girls over the span of one day and night in the Shibuya district of Tokyo. Jonko runs a group of high school girls involved in paid dating, Raku is a street dancer, and Togo was brought up in the US and back in Japan for one year wants to escape to New York. Their contact with the world of talent scouts and yakuza places them in danger.
Shinji and Masaru spend most of their school days harassing fellow classmates and playing pranks. They drop out and Shinji becomes a small-time boxer, while Masaru joins up with a local yakuza gang. However, the world is a tough place.
Cameron, a Police Officer with psychic abilities, is called upon to interview an accused teen in hopes of finding the whereabouts of the teen's missing gay lover. His investigation immediately spirals into sordid tales of drug abuse, sexual obsessions, and a mysterious man living on a deserted mountain road.
A driver and a mechanic travel around the United States hopping from drag strip to drag strip in a 1955 Chevy Bel-Air coupe. They race for money, betting with their competitors. The pair gains a young and talkative female stowaway. Along the way they unintentionally attract a well-to-do drifter driving a new Pontiac GTO. This older man, looking for attention, antagonizes their efforts.
Maki is a talented copper plate artist, however, just before her first gallery show, she gets struck by a truck. When she comes to she is at home. When she ventures outside, the city is deserted and she knows something is deeply wrong. Each day repeats; she wakes up at 2:15 in the afternoon. Gradually things start change, the phone rings, and she finds that she is not alone...
Miles Kody, is a documentary filmmaker. As Miles tapes his interviews with Vic he becomes aware of the appearance of "ghosts" captured on his video monitor. He realizes that the faint energy fields of these ghosts, past victims of the snuff films, are picked up more readily on video...
Agnes "Astra" Huston, a fortune teller at a run-down fair, is found strangled in her bedroom. As the police question five suspects, their interactions with her are shown in flashbacks from their point of view.
Reverend David Poe and his psychiatrist wife trade hectic New York life for an idyllic rural farmhouse; the perfect place for 10 year old twins Jack & Emily to run, play and imagine. Documenting this lifestyle change, David decides to film every holiday and special family event. To the Poe's horror their home movies reveal an increasing malice and evil within their children.