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Anesthesia

Ji-hyeon, a young nurse, inadvertently witnesses a rape when her own boss anaesthetises a patient and abuses her. Shocked to the core, Ji-hyeon nonetheless has the presence of mind to record the crime on her mobile phone. She later shows her images to her female colleagues at the clinic. United we stand, thinks Ji-hyeon, and tells them what should be done: their boss must be handed over to the police so that the female target will receive justice. But Ji-hyeon gets a rude awakening when the images she has recorded only arouse suspicion and their authenticity is called into question. Ji-hyeon begins to think hard and comes up with a crime of her own. Then she makes a decision.

Anesthesia

NR 2012
a dichotomy

다이코터미 refers to the dichotomy between memory of place and gaze. The film represents medium-specific noise and fragments created about a specific city beyond memory. The same place, but different perspectives and fragmented molecules discontinuously reorganize the order and indicators of space and time. The two different directions of gaze and time and space are imitations of each other. The noise generated by the characteristics of the 16mm film medium expresses the fragmented molecules of memory in time and space.

a dichotomy

NR 2016
Will Not Change

2013, as a freshmen, I tried running away from the artistic military discipline. 2015, in my sophomore year, I confronted with Sewol Ferry disaster and the pain of others, behind the screen. 2016 in my junior year, I survived from the misogynic survival. 2017, at the final year of college I fought and won against my case of retributive defamation. is a public question and a private record of mundane discrimination and misogynic oppression that a woman in her 20s has experienced living in hell-like Korea.

Will Not Change

NR 2018
Asura: Path of the Yakuza

In the early 1960s, Japan entered a period of high economic growth and enjoyed a booming economy. At the same time, the size of the Japanese Yakuza reached 180,000 with over 5,000 organizations, and 80,000 new people entered each year for 10 years. At that time, the two major mountain ranges of the yakuza and the Hakjeonghoe kept each other in check and fought constantly, and there was always an air of instantaneousness. The Hakjeonghoe united the Kanto region to be wary of the Sananghoe, and at the center of it was Ishita, a loyal and gentle resourceful person unlike other Yakuza. When Ishita successfully led the Kanto Alliance, the government checked the yakuza and banned gambling and spot taxes, which are their main sources of profit, under the name of “normal operation”. I'm trying to start the Tatsumi industry with real estate...

Asura: Path of the Yakuza

NR 2015
It's Good to Believe in God

To earn enough money to live a good life, Ding Ruilin and her husband put in bitterly hard work to open and run a business. But, thanks to the CCP government's exploitation and abuse, they remain heavily in debt, and have no choice but to go abroad to work. The heavy burden of her work and the indifference of the people around her make her realize the pain and helplessness of living for money. In the midst of her pain and confusion, she meets high school classmate Lin Zhixin. In their talks, Ding Ruilin sees that Lin Zhixin has come to understand many things because of her faith in God. With God's presence, she feels spiritual peace and happiness and lives in a relaxed, easy state, which makes Ding Ruilin want to believe in God as well.

It's Good to Believe in God

NR 2019
Landscape in the Afternoon

Images out of their intended context create new context, and also provide us the perception to be able to see which were there but not seen in its own context. This work is a process of research on the world which is familiar, but at the same time full of mysteries. This film is based on the abandoned images with variable reasons. I hoped the images would be free from the logic of selection. At the same time, I was curious about the world which is full of mysteries, always richer than the personal perception. (Lee Jangwook)

Landscape in the Afternoon

NR 2013
ephemeras

The video features various images of Kolomna along with fragments of texts in English and Russian. The Russian-English and English-Russian texts are a record of translations done in Google Translate during actual conversations. They represent the speakers' awareness of the possible failure of language as well as their mutual efforts to communicate with each other. The audio is the artist copying the text of Moscow-Petushki by Benedict Erofeev, making reference to the history and culture of the city, Kolomna. ephemeras addresses both the physicality and ephemerality of the act of speaking and writing.

ephemeras

NR 2018
SZQ: (Re)Printed

SZQ: (Re)Printed is a film that explores deconstructed materials and mental images of 16mm film, bringing the space outside the frame into the space within it. The fragmentation of visual imagery expands the film’s temporal dimension through an abstract collage method that recomposes new cinematic texts. SZQ: (Re)Printed fuses repeated images and sounds through negative-to-positive printing techniques, generating unexpected visuals that rediscover the filmic material as moving, organic forms. These abstract images seem to possess a life of their own, and that life unfolds in tandem with the sound collages.

SZQ: (Re)Printed

NR 2015
Fragment

"This is a scenario written based on a true story that was actually experienced. ill-advised at school I remember the precious people leaving me because of my judgment. At that time, I expressed myself as "Yoo Jin Hyuk" and those who had left as "Ha Yoon Woo," and as a medium of conflict, I described myself as "Lee Ki Tae." Everyone makes small mistakes because they are human. I want to send a message to everyone who has seen the movie that the mistake can make as big a thing as the Butterfly Effect, to be alert again with this work from my experience." -Yong Hyun

Fragment

NR 2018
Sword of Tsubomi

In the Edo Period, repressed sensual monsters have revived one after another, and attacked people. Born as the 15th magical swordswoman, Beni Tsubomi is destined to clean up these monsters. Only she can handle the magical sword handed down in the Benis for that job, and therefore, her “chastity loincloth” is shielded. But she’s usually an ordinary 18-year-old girl. While undergoing training at Beni Dojo under her grandfather, Genjiro, as a master, she’s beloved as the idol of the dojo by the trainees. One day, a young man named Nagata comes to join the dojo. With his handsome looks and superb swordsmanship, Tsubomi’s heart pounds. But he really is a long-nosed goblin that tries to seduce her and steal her virginity to eliminate the power of her magical sword. The furious battle between Tsubomi and the sexy monsters has begun!

Sword of Tsubomi

NR 2010
Cut-out

A mutilated and grotesque woman’s body chases after a man. The combination of the photomontage and text represents women’s labor, expressed through uniforms and clothes, and women who were sexually objectified, conveying feminist discourses and disciplines. The chased man never understands the existence or content of the images and texts. The blunt presentation of women’s unheard voices and objectified bodies, and the excessively-visualized images, demand immediate introspection.

Cut-out

NR 2019
Super-critical Flow

"Super-critical Flow" is a combination of a documentary and drama. It starts like a documentary about the declining Yongsan Electronic Mall, but all of a sudden changes into a story about a poor couple wandering around the mall after finding out about their unexpected pregnancy. Could the first documentary part of the film be a long prologue for the drama? Or is the drama a needed source to complete the documentary? Either or there wouldn’t be much difference in experiencing what the characters and the mall is about to face. However, the second question makes it sound more interesting. The film starts with a clip from a surveillance camera which could feel like something more than a documentary, it then passes a participation stage showing interviews and finally meets the performance form. (BYUN Sungchan)

Super-critical Flow

NR 2015