film synopsis

Transcription

film synopsis

FILM SYNOPSIS
1 4 - 2 1 J U LY 2 0 1 1 C H E N N A I
am
Cathe
dral
Road
Music
Academy
ore
Muthu La
Kamaraj St
Kalakshetra Roa
Towards
Mylap
d
Kalakshetra
Foundation
Anna St
Lattice Bridge Road
Towards Adayar
Krishnamac
hari Roa
d
Russian
Centre of Culture
and Science
kshmi St
Tow
ard
s Nu
nga
mb
ak k
TT
KR
oa
d
Location Map
ECR Road
Towar
ds Peru
ng
udi
Bus Terminal
Temple
Venues
MainScreen : Russian Centre of Science and Culture
Kasturi Ranga Road, Alwarpet, Chennai - 600018
ParallelScreen : Kalakshetra
Muthulakshmi Road, Thiruvanmiyur, Chennai 600041
02
Contents
Indian Films
04
Korean Films
09
World Films
15
Women Cinema
37
Parellel Screen
47
Screening Schedule
50
Director present to introduce the film.
Cultural Director present to introduce
the fim.
Curator present to introduce the film/
Festival Director
Index indicates the serial number and page number.
All f ilms have subtitles in English.
03
Indian Films
01
Fried Fish,
Chicken
Soup and
a Premier
Show
Mamta Murthy
The film is a journey with a Manipuri feature film unit through
the landscape of picturesque hills and narrative traditions. As
technology and army fatigue permeate the terrain, the people
continuously re-configure the narrative inheritance to chronicle
the contemporary. Traversing various sites, the film brings forth
the very specific story of Manipur and its public culture in the
21st century.
2009 | 90min | Colour
02
The Dance
Saba Dewan
03
Tale of Night
Fairies
Shohini Ghosh
The Sonpur cattle fair in rural Bihar comes alive every evening
when more than fifty girls take to the stage and dance for an all-male
audience. A barbed wire fence separates the performers from
the spectators. Originally part of the nautanki, a popular folk
theatre genre of North India, the dance of the female performer
today has become a re-play of Bombay films and music videos
that span rural and metropolitan landscapes. It is a performance
charged with sexual energy. The girls dance, make eye contact,
beckon, gesticulate and even abuse a highly responsive
all-male audience. The film questions what meanings related
to contemporary construction and practice of gender, sexuality,
labour and popular culture one can read in the dance of the
female performer.
Five sex-workers and the filmmaker embark on a journey
of storytelling. The film explores the power of collective
organizing and resistance while reflecting upon contemporary
debates around sex-workers. The simultaneously expansive
and labyrinthine city of Kolkata forms the backdrop for the
personal and musical journeys of storytelling.The film attempts
to represent the struggles and aspirations of thousands of
sex-workers who constitute the DMSC (Durbar Mahila
Samanyay Committee or the Durbar Women’s Collaborative
Committee), an initiative that emerged from the Shonagachi
HIV/AIDS Intervention Project. A collective of men, women and
transgendered sex-workers, DMSC demands decriminalization
of adult sex work and the right to form a trade union.
04
04
Arzoo
Shashi Ghosh Gupta
12
05
Jahaji Music
Surabhi Sharma
12
06
I Want to be a
Mother
Samruoddhi Porey
This film is the story of Sulekha Ali, a young Muslim woman who
is compelled by circumstances, to live in the Shah Alam refugee
camp in Ahmedabad for six months, post the communal riots
of 2002 in Gujarat. She works as a volunteer in the camp and
soon discovers emotional wounds that lie buried below the
surface. Her interaction with the children at Shah Alam, creates
a longing within her to heal and nurture. After leaving the camp,
Sulekha decides to continue with her work and thus the Arzoo
Education and Activity Centre, synonymous with her own
desires, is born. The film depicts the struggle and resilience of a
young woman fighting for her beliefs, against all odds.
From the mid-nineteenth century Indian labourers arrived in
the Caribbean on boats, bringing a few belongings and their
music, thus initiating a remarkable cultural practice. More than
150 years later, musician Remo Fernandes travels to the Islands
to explore potential collaboration and create new work. Jahaji
Music is a record of a difficult, if unusual and complex musical
journey. During the course of the film, one walks around
Trenchtown with Bob Marley’s teacher and Rastafari philosopher
MortimoPlanno; accompanies Calypso and Soca singer Rikki
Jai to Skinner Park; chats with visual artist Chris Cozier in the
Savannah; follows Dancehall Queen Stacey to WeddyWeddy
Wednesday; grooves to Lady Saw’s lyrics; records a new song
with Denise Saucy Wow Belfon and are guests at an East-Indian
Hindu wedding. Most of all, this film is an attempt to weave a
story of memory, identity and creativity.
Mary comes to India looking for a surrogate mother to bear
a child. She finds a poor woman Yashoda, who accepts the
offer. Yashoda gets pregnant but during her pregnancy, doctors
inform Mary and Yashoda that due to some complications the
child would probably be born with disabilities. Mary decides to
leave India although Yashoda begs her to stay. Yashoda is left
alone with a child in her womb. A few years later, Mary decides
to come back and look for her child.The film depicts the legal
and emotional perspective of this dilemma and questions who
the child should be with- his surrogate mother who raised him
or his mother who is his blood relation.
05
12
07
Akam/Palas in
Bloom
Usha Shalini Nair
08
12
Invoking
Justice
Deepa Dhanraj
09
12
Dweepa
Girish K asaravalli
12
10
Byari
K P Suveeran
The film tells the story of Srinivasan, a young architect, who is
happy when he gets a good job and a beautiful girlfriend. But
then an accident leaves him totally scarred. His wife leaves him
and Srinivasan, now shattered and sans confidence, withdraws
into a shell. He meets the beautiful Ragini who is willing to
accept him despite his sinister appearance. They get married,
but after a while, doubt creeps into Srinivasan’s mind about
the true identity of this woman, whom he suspects is not quite
human!
Fed up with male-dominated Jamaats (Councils), where they
cannot represent themselves, Muslim women in South India
set up their own Council in 2004. The Women’s Jamaat guides,
arbitrates and decides on matters related to family law. The film
tells the complex story of the inspired challenge posed by the
Women’s Jamaat to a corrupt judicial system. The film follows
Jamaat members as they investigate cases and negotiate with
families, male jamaats and the police with the skill, tenacity
and the courage of conviction grounded equally in faith and in
a secular idea of justice.
Based on the novel with the same title by Norbert D’Souza,
this film deals with the raging issue of building dams and the
displacement of natives. Located in the backwaters of a dam,
Sita Parvata is an island slowly submerging due to the rains.
The government succeeds in evacuating the inmates of the
island by giving them compensation for the properties they
own. The village temple priest Duggajja, his son Ganapa and his
daughter-in-law Nagi find it impossible to leave their homeland
and make a living with the meagre compensation given by
the government. On the island, they are important people,
but outside, they would be one among hundreds of families
struggling to make a living. Centered around this complex
theme, the film narrates the struggles of the family and how
they manage to cope with life on the island.
This national-award winning film is the first-ever film made in
the ‘Byari’ language, spoken mainly by people belonging to
the community concentrated in the coastal regions of north
Kerala and the Dakshina Kannada districts in Karnataka. The
06
Byari language, which has links with Malayalam, Urdu and Tulu,
does not have a script. The film depicts the culture, tradition
and language of the Byari community. It highlights strict laws
and regulations of marriage in the community, pros and cons
of divorce in Islam and how it affects women, in particular. The
film, which is based on issues connected with Iddat (marriage)
and Talaq (divorce) in Islam, tries to bring such problems to the
notice of Islamic law-makers. It was on the same day that she
gets her first period that Nadira’s marriage is fixed. Her husband
who is thrice her age, loves her very much. However, she is
forced to divorce her husband because of a dispute between
her husband and her father. Nadira is forced to stay at her
father’s house, devoid of any contact with the outside world. In
the mean time, her husband takes away her child. Nadira can
get back with her husband only if she, as per the dictates of the
law, marries and divorces another man.
11
Suraj Ka
Satvan Ghoda
Shyam benegal
In this film, the narrator, Manik Mulla tells three stories,
of three women whom he had met at different stages in
his life. These three stories are nothing but a single story
seen from different standpoints based on the characters of
the film.The lowest, slowest or the weakest in a group or
society determines the speed or progress of the whole.
The title of the movie, draws this analogy with its reference
to the seventh horse pulling the chariot of the Sun God. An
interesting narrative approach adds to the abstractness as
the film is presented as a flashback by a contemporary artist.
** Film restored by the National Film Development
Corporation
12
Nazar
Mani Kaul
After his wife’s death, the husband recalls their first meeting
and their marriage. His wife was much younger than him
and she used to frequently pawn things to an antique
shop in exchange for money. The husband is increasingly
intrigued by his wife’s behaviour. He discovers that his wife
was an orphan living with two aunts. The film explores their
complex life in a manner that is unusual for Indian cinema.
** Film restored by the National Film Development
Corporation
07
12
13
Marupakkam
DHAYANITHI
14
Vazhakku
En18/9
Balaji Shakthivel
15
That Fired
Soul-Voyages
Across a
Gandhian
Landscape
This film deals with the consequence of focusing on a real-life
character, which at times, according to the director, proves to
be disastrous!
The story is narrated through flashbacks. Velu, a teenager, works
in a roadside shop. He meets Jyothi, who works as a maid in few
of the apartments nearby. Velu falls in love with Jyothi. Aarthy,
who lives in one of the apartments near the roadside shop, falls
in love with Dinesh who resides in the same building. Dinesh
shoots video clips of Aarthy on his mobile phone and circulates
them among his friends via MMS. When Aarthy finds out, she is
aghast and threatens to approach the police. An angry Dinesh
tries to murder Aarthy, but Jyothi intervenes to save her. The
movie picks up speed as the corrupt Police Inspector, Kumaravel,
begins investigations. Will the law be allowed to take its course
and will the culprits be brought to book?
A contemporary shadow puppetry show on Gandhi takes
the young narrator of this film on an exploratory journey.
The narrator encounters Gandhi, Vinoba Bhave, Jeyaprakash
Narayan and Krishnammal, a nonagenarian Dalit woman who
along with her centenarian husband, dreams of re-distributing
500,000 acres of land to the landless.
Aravind Kumar
08
Korean Films
01
Play
Nam Da-jeung
02
The two lines
JI-MIN
03
Re encounter
MIN Yong keun
04
My Sweet
Baby
Ryu Mi-rye
05
Moonwalk
BOO Ji-young
Jun-il has a chance to listen to Hun-il’s music at a café and he
proposes that they form a band together. A drummer, Hyunjae joins them and they organize a modern rock band. Their
dreams, their love stories and their youth permeate their
work. They decide to busk at a performance by an acclaimed
musician. However, this is a decision that will change their
destiny forever.
Ji-min and Cheol are a couple living together. One day they
discover that Ji-min is pregnant and they prepare to cross over into
another stage in their lives. The director questions the essence
of marriage by narrating her own story of having a baby as an
unmarried woman.
The film portrays a re-surfacing of repressed memory. Hyehwa
and Hansoo were in love when they were 18-year olds in high
school. However, Hansoo disappears without a word after
finding out that Hyehwa was pregnant. Five years later, Hansoo
shows up in front of Hyehwa. He asks for her forgiveness and
tells her that their baby, whom they thought was dead, was in
fact, alive. Hyehwa does not believe what Hansoo says due to
the sense of abandonment that still grips her. However, she is
visibly moved when she hears that the child has been adopted.
The word ‘Mother’ is a very ordinary word but is incredibly
deep and layered. The filmmaker who got married and had a
baby without really being ready for it, wonders if she is qualified
enough to be a mother. Over ten years, she brings up three
children. However, all the while, she is acutely aware that she
needs to nurture her inner self, just like a mother nurtures her
young child. This film is a kind of a baby book, a personal diary
of a girl who tries to understand what it means to become a
mother.
This film is about Soon-im, a middle-aged woman who works at
a mart while raising a high school daughter alone. Soon-im has
a secret crush on Jun-young, working in the same mart. After
dreaming about Jun-young one night, Soon-im paces around
his place in the hope of meeting him. The plan however fails.
09
Wearing her daughter’s new boots, Soon-im travels to Lake
Sanjeong, where she had gone on a picnic with Jun-young the
previous autumn.
06
Song’s
Worklog
Navi
07
Jin-ok goes to
school
Kim, Jin-yeul
08
Cuban
boyfriend
JOUNG Ho-hyun
09
Jesus Hospital
SHIN A-ga &
LEE Sang-cheol
This film began when the director learnt that her mother wanted
to organize a labour union to be lawfully compensated after
having worked as a gas meter reader for ten years. Somewhat
surprised by her mother’s bold step, the director begins to
record her mother and her companions. The resultant film
is one that captures with sensitivity and love what appears to
be an uphill task for the women, pitted as they are, against an
unjust compensation system.
This film is a sequel to The Wedding Story of a Woman with
Disability (1999). While the former portrayed the life of a
disabled woman, this film focuses on Jin-ok’s family life after
giving birth to and raising her daughter Seo-kyoung. Jin-ok, a
typical mother who wishes to bring up her daughter well, makes
an effort to become an insurance broker and a counsellor for
sexual violence against disabled women. The documentary
helps viewers move away from pity or prejudice against disability
to admiration and identification with a person like Jin-ok, who
despite her disability, leads an active life.
Almost hundred years ago Koreans immigrated to Cuba looking
for the land of milk and honey. However, one wonders whether it
is still possible to find a similar place in current socialist Cuba. Or,
whether it is crumbling away in the wake of Neo-Liberalism, like
old buildings falling under the weight of time.
A tough, milk-delivery woman, Hyun-soon, has a secret that she
does not want to reveal to others. Her unconscious old mother
is in a hospital and her pregnant daughter who is in her 20’s is
the only one who knows Hyun-soon’s secret. While her sister
and brother are against prolonging their mother’s life, Hyun-soon
argues in favour of it. The family who think that she is weird, plan
to leave Hyun-soon out in the cold. However, everything soon
becomes blurred.
10
10
Girl Princes
Kim Hye-jung
11
My Father ’s
House
Kangyu Ga ram
12
TranSiam
Wesley Cho
13
Home Sweet
Home
Kwon Oh- Kyung
2011| 17min35sec |
Colour
14
In the Eye
shot of me
Oh Ji-Hye
2011 | 23min15sec |
Colour
During the 1950s, a particular type of Korean musical with an
all-female cast called Female Gukgeuk enjoyed a golden age in
Korea. The Female Gukgeuk set the hearts of many young girls
on fire. This film looks back at the phenomenon of the Female
Gukgeuk which has not been recorded in history. Furthermore,
the film links the past to the present where the actors continue
to maintain life-long ties with fellow actors and old fans.
The film focuses on a family that lives in the Eunma Apartment
in the Gangnam area in Korea. The director’s father, whose
business is failing, had borrowed money using his house as
security. He struggles to repay his loan but he never thinks of
selling the house He lives in the hope that the price of the
house might go up one day. The film captures the anxiety of
the father and the empathy of the daughter who understands
the tough economic situation and admires her father’s grit in
withstanding the situation.
This film takes the audience deep within the working industry
of four Thai transsexuals. Tasteful yet true to life the audience
are whisked with the four protagonists from Bangkok to Pattaya
and back in a virtual world of glamour, fame, sexual abandon,
hedonism and family values in a country that will not officially
recognize their identity.
Su-Jeong is re-taking her college entrance exam. Every night,
her alcoholic father creates a commotion in the house and her
mother has no way of stopping him. Su-Jeong comes home
from her part-time job but even on the night before the exam,
her father will not let her be.
A year has gone by since Eugene’s mother passed away. With
her wedding near at hand, Eugene returns to her photo studio,
feeling uneasy. At the end of the day an old man comes in to
create a portrait for his funeral.
11
15
My Selves :
The Actress
No Makeup
Project
BOO Ji-young,
KIM Kko-bbi,
SEO Young-ju,
YANG Eun-yong
In this film, the three directors begin to use their cameras to
reveal, discover and record aspects of their own lives. Kim Kkobbi goes abroad to capture shots of her friends while filming
Breathless. When Seo Young-ju finishes her work as an actress
and as an assistant director shooting a film, she leaves on a
trip overseas to hibernate. Yang Eun-yong loves someone but
cannot contact him. As they discover aspects of themselves,
their lens and the resultant films become the source of their
energy.
16 A
Hope Bus,
A Love Story
PARK Sung-mi
17
Jinsuk & Me
LEE Soo-jung
18
The Song Is
Singing
SHIM Hye-jung
19
Seventeen in
Summer
JO Seul-yeah
In a shipyard, crane No.85 has resulted in the death of two
people. One day, before dawn, one female labourer who was a
friend of the two people who were killed, climbs up the crane,
signalling her solitary battle against a giant company. Soon,
people start visiting the site. Although the police block them
and blast them with water cannons, more and more people
converge at the site to support the girl in her protest.
This film records a journey of the protagonist, whose life
changes dramatically after she boards a bus in June 2011. At
first, she is just a passenger, just like everyone else on the bus
but soon, she wants to help and gets more and more involved
in the astonishing action that is taking place around her.
In a car playing 80‘s activist songs, the protagonist hovers
around the site of a demonstration. Although she is listening
to activist songs in the car, she does not dare go to the site of
the demonstration. Police cars surround the demonstration. As
the girl continues to sing activist songs in a bar, she hears young
people singing from the square in Seoul City Hall. It is as if the
whole city is singing in protest.
17-year-old Mi-jin, is sick and tired of her young and egocentric
mother and she dreams of a life that is different to that of her
mother. Working a part-time job, Mi-jin tries to find a way to
escape from her situation. She plans to go on a trip with her
friend, but to make things worse, she is swindled.
12
20
Kung Fu
Grandma
PARK Jeong-one
21
Lights in the
Dusk
YU Eun-jeong
22
Here, Where
We Meet
KIM Min
Korogocho is a slum in which the older women have become
vulnerable to attack from younger men, fuelled by rumours
that intercourse with an elderly woman can be a cure for
AIDS. In a bold and furious move, a group of grandmothersthe eponymous, Kung Fu Grannies, come together to protect
themselves.
Hyun-young moves into the cheap and shabby neighbourhood
in Seoul with her broken bicycle. The outskirts of Seoul
seem bleak and dangerous to her. However, she can neither
leave the town nor quit her part-time job there. The city is
harsh and arid but it is beautiful as well. Hyun-young meets
Min-woo when she goes to a bicycle shop. The scenery of
Seoul that Hyun-young sees while wandering around the city
on her bicycle represents her ambivalent feelings towards both
Min-woo and the city she lives in.
The protagonist reflects on how human beings live by drawing
her attention to the people living in her vicinity. She gradually
discovers facets of their lives and is moved, especially by the
tragedies embedded in each life.
23
Just Kid’s Play
Kim Ji- Young
This short film depicts children playing in a house. As time goes
by, the situation in the house gets increasingly horrifying.
2011 | 10min49sec |
Colour
24
Mom Came
Over The Sea
Yeon -Kyung jung
The film depicts the story of a boy who does not want to go
home because he misses his mother who had to go to Japan
to make a living. His mother is forced to do this because her
husband, his father, is an alcoholic. By chance, the boy meets a
Korean-Chinese woman who had to leave her child behind in
China to come to Korea to earn a living. This reminds him of his
own mother and his own life story
13
25
Rolling Home
with a bull
Lim Soon-rye
Jaded by a series of failures in Seoul, unknown poet, Sun-ho
returns to his hometown to help his elderly parents work on
their farm. Fed up with having to clean up after the cattle on the
farm, he sneaks out one night to sell the bull at a cattle market.
Following some misadventures, he arrives at the market but
is unable to sell the bull. Sun-ho’s predicament is further
complicated by a call from his former girlfriend, Hyun-su, who
had married his best friend. Hyun-su tells him that her husband
has passed away. After the funeral, Sun-ho travels with the bull
he could not sell and his one-time lover, who has just lost her
husband. It is a journey of reflection and discovery, one that will
help Sunho rid himself of bitterness and hatred.
14
World Films
01
Joanna
Feliks Falk
Poland France and
Germany
02
Hanoi EclipseThe music of
Dai Lam Linh
Barley Norton
2010 | 56min |Colour
Vietnam
03
Flying Fish
Sanjeewa
Pushpakumara
Sri Lanka
Everyday life in the German occupied cities in the midst of
the World War II, oscillates between efforts to find work and
therefore something to eat and efforts to avoid the “seizures”
regularly carried out on the streets by the German special forces
- the Gestapo. On one such day, a Jewish woman is taken away,
while her 8-year old daughter accidentally manages to avoid the
seizure. Left completely alone, she hides in a nearby church,
hungry and frozen almost to death. Joanna who has been
waiting for her husband to return home for four years, sees the
girl. She feels a natural, strong urge to help, but does not know
anyone in the underground opposition who would be able to
secure a safe haven for the Jewish child.
This documentary follows the challenges faced by the
groundbreaking and controversial Vietnamese band Dai Lam
Linh, while rehearsing and performing in their hometown
of Hanoi. It shows how the band came together to create a
unique form of popular music which is both international in
outlook and rooted in Vietnamese traditions and aesthetics.
Followed by scandal at every turn for their experimental sound
and their use of sexually explicit lyrics, the band have dared to
flout taboos and fight for their creative freedom. Shunned by
state-run organizations and disliked by the Vietnamese censors,
the band was only able to record their debut album because of
support from the Centre Culturel Français de Hanoi. Dai Lam
Linh’s story of creative, political and financial struggle reveals
what it is like to be a contemporary musician in a one-party
state where cultural expression is tightly controlled.
A Sinhalese village girl falls in love with an army soldier and
becomes pregnant. The couple attempt to abort the child but fails.
While they make love in the ruins of an abandoned building, the
girl’s father sees them. While he does not confront his daughter
about what he has seen, the scene haunts him continuously.
As the war intensifies, the villagers are recruited into the civil
defense force in order to protect the village border. Among these
recruits is the girl’s father, who is punished and humiliated by the
soldiers from her lover’s platoon. Demoralized, the girl’s father
shoots himself inside an empty bunker. Meanwhile, the soldier
and his platoon receive a transfer to a distant posting, leaving
15
the girl in great agony. Tortured by her father’s suicide and her
rage at the soldier who leaves her pregnant, she flees the village.
04
Nothing To
Lose
Robert Y Chang
USA
05
The women
from the lake
of Scented
Souls
XIE FEI
China
06
The Lulu
Sessions
S Casper Wong
USA
In a culture obsessed with staying thin, there are groups
of “fat activists” who attempt to change what they see as a
fat-phobic world into a size-accepting world. These fat activists
span the political and religious spectrum, yet come together
in their resolve to end “size discrimination.” The film presents
the activities of the local New York chapter of the National
Association to Advance Fat Acceptance as they advance their
platform through engagements with mass-media, dissemination
of information and creative local actions. By adopting the
provocative position that linking fat with ill-health is misguided
and legitimizes prejudicial attitudes and behaviour toward those
with fat bodies, the film encourages its viewers to rethink the
stereotypes and assumptions that they might hold about body
size.
At a sesame mill on the banks of a picturesque lake, lives a
mill owner, Xiang, an intelligent and spirited woman who
has been successfully running the business with her Japanese
partners. But Xiang is unhappy. Her husband is an alcoholic
given to violent outbursts and their only son is retarded. Xiang
seeks comfort with a lover and occupies herself searching for a
suitable wife for her son. Finally, in desperation, she pays a large
sum of money for a young and beautiful daughter-in-law, who
in turn, finds out about Xiang’s clandestine relationship. Xiang
offers regretfully, to free her daughter-in-law from the marriage
to her son.
Dr. Louise “LuLu” Nutter, a world-class cancer researcher, is
the subject of S Casper Wong’s intimate documentary. Fiesty,
profane, driven and a high achiever from a young age, LuLu
is no ordinary scientist. The film begins with a difficult phone
conversation with LuLu’s oncologist. This dynamic woman has
just learned that she has end-stage breast cancer. Forced to
face this devastating illness and her own personal shortcomings,
LuLu begins a difficult journey. Wong is not only a sensitive and
perceptive filmmaker, but also LuLu’s friend. As difficult as LuLu
16
is to be with, Casper perseveres and helps her as best she can.
Despite all her brashness and outspokenness, LuLu is surprisingly
vulnerable. She slowly comes to accept her situation and begins
to make peace with herself and those around her.
07
In Our Ghetto
Marcus Werner Hed
Nigeria
08
Stars Above
Saara Cantell
Finland
09
A Family
Pernille Fischer
Christensen
Kinabuti is a Nigeria-based fashion label that launched its first
collection in an unusual way. Instead of working with professional
models, Kinabuti chose to work with aspiring models from the
disadvantaged communities of the Niger Delta, an area also
referred to as the ‘ghettos’. Twenty two girls were selected and
trained by professionals to give them a deep understanding of
the modelling profession, so that they could put it into practice
during a forthcoming fashion show and hopefully further develop
their careers as professional models. During the twenty days
prior to the event, the director documented the challenges and
daily progress of this major project. By following them on a
daily basis as well as interviewing them during and after the
event, the director succeeds in depicting the lives of these girls
who despite their impoverished and challenging backgrounds,
continue to fight in order to make their aspirations a reality.
It is 1942. Saima, a spunky schoolteacher, keeps the household
running smoothly while her husband is at the front. Her secret
affair with a hunky, one-armed soldier/astronomer results in a
daughter Tuulikki , seen in 1978 as an addle-brained, back-tothe-farm feminist. Between trying to raise her own daughter
without her husband, dye and weave her own wool and plant
an organic garden, Tuulikki discovers she cannot do it all and
enjoy free love too. Tuulikki’s daughter Salla, a lesbian academic,
returns to the cottage, looking for peace and quiet, but her
rowdy neighbour Ville and his culinary skills soon prove to be
a distraction.
A successful Danish family who faces agonizing choices when its
charismatic patriarch falls ill.
2010 | 102min | Color
Denmark
17
10
Could You
Love
Johanna Vanhala
Johanna Vanhala uses Super 8 films from other families to
illustrate her own memories from her childhood before she got
separated from her mother.
Finland
11
The Drifter
TATJANA Turanskyj
Germany
12
Helping
Mihaela
Hanna May lettin
Finland
13
North
Country
Niki Caro
USA
Greta, 40, an architect, mother of a 12-year-old son, is
unemployed and separated from her husband. She starts
working in a call centre but is soon dismissed. She does
everything in her power to keep herself together but she soon
starts drinking and drifts through the city, torn between the
pressure to conform and the spirit of rebellion. In a series of
snapshots one sees a woman with a vision of urban spaces,
of herself, of her profession, of her life with her child. Fierce,
hysterical, stubborn, almost in a trance, fractious, uninhibited,
effusive, desperately unhappy - the film is more of a trip than
a narrative, capturing with great sensitivity the fragile life of a
woman in a contemporary, globalized world.
This film reflects prevailing attitudes in society and official truths
about poverty as a problem that must be resolved at a structural
level. On the other hand, anyone can decide to help someone
in need. This is a view shared by Stella and Peter, a Finnish
couple. They decide to get Mihaela admitted in a school in their
home country. The film discusses the challenges of bringing
societal and personal perspectives on to a level playing field.
A fictionalized account of one of America’s groundbreaking
sexual harassment lawsuits – Jenson vs. Eveleth Mines comes
to the screen in this hard-hitting drama. In the late ‘80s, Josey
Aimes fled her abusive husband and joined the iron mines in her
hometown in Minnesota to support her children. However she
found herself the growing target of sexist jokes and a personal
crisis became a public war of words. Aimes became the centre
of a nationwide controversy when she attempted to file a class
action sexual harassment suit against the mine owners.
18
14
Valerie
Josef Rusnak
Germany
15
The Unknown
Woman
Elina Kivihalme
Finland
16
The Pervert’s
Guide to
Cinema
Sophie Fiennes
UK
This film is the last in a trilogy of movie monologues produced
by Hubertus Meyer-Burckhardt. The titular protagonist’s life
takes place between Los Angeles and Berlin. She alternately
works in the US or spends time with her boyfriend in Berlin.
When the latter gets sick and falls into a coma,Valerie decides
to stay in Berlin. But, she has to travel to L.A. one last time. She
decides to leave a video diary playing by her boyfriend’s bedside
at the hospital while she is away. The day before her departure,
she begins recording her diary. Her monologue in front of
the camera gets more and more emotional and personal and
through her narration she relives all the highs and lows of their
relationship.
This film, about an unknown peasant woman, is a story about
survival. This is perhaps the first time that agricultural contribution
from women during the war years is portrayed on the silver
screen. The film depicts a period when Finnish homes were
entirely dependent on the persistence of women’s labour. The
documentary is a tribute to the women, their work and efforts
on the homefront. The majority of the workforce, comprising
men, were on the front. The women made an enormous
contribution during the war, yet it is mostly male veterans who
received praise for their efforts. The film commemorates the
efforts of the women and is a commentary on historiography.
Through the course of this film, the viewer is taken on an
exhilarating ride through some of the greatest movies ever made.
Serving as presenter and guide is the charismatic Slavoj Zizek,
acclaimed philosopher and psychoanalyst. With his engaging and
passionate approach to thinking, Zizek delves into the hidden
language of cinema, uncovering what movies can tell us about
ourselves. Whether he is untangling the famously baffling films of
David Lynch, or overturning everything you thought you knew
about Hitchcock, Zizek illuminates the screen with his passion,
intellect, and unfailing sense of humour. The Pervert’s Guide
to Cinema cuts its cloth from the very world of the movies
it discusses; by shooting at original locations and from replica
sets it creates the uncanny illusion that Zizek is speaking from
‘within’ the films themselves. Together the three parts construct
a compelling dialectic of ideas. This compelling film is really
about what psychoanalysis can tell us about cinema.
19
17
Innocent
Saturday
Aleksandr Mindadze
Russia
18
In a Better
World
Susanne Bier
The film is set in Chernobyl, recalling the trauma of the world’s
worst nuclear accident, just ahead of the the 25th anniversary of
the catastrophe.The film depicts a junior party worker, Valera,
who learning of the explosion by chance, tries to escape from
the town of Pripyat just outside the Chernobyl zone. But he
misses the last passenger train out of the town because his
girlfriend cannot run fast enough. He finds himself drawn into
a drunken wedding party, where he plays the drums for a rock
band and downs copious quantities of wine. His friends brush
off warnings of the ensuing danger with macabre jokes, even
when as they view the flaming power station, in scenes that
recall the near anarchic atmosphere in the days immediately
after the explosion in April,1986.
The lives of two Danish families cross each other and an
extraordinary but risky friendship comes into being. But
loneliness, frailty and sorrow lie in wait.
The Netherlands
19
The Cinema
Hold Up
Iria Gómez
Concheiro
Mexico
20
The Life
Guard
Maite Alberdi
Chile
Four friends living in the Guerrero neighbourhood of Mexico
City, try to come to grips with a harsh urban reality. All day
long they wander aimlessly through the streets on the outskirts,
meet in places void of humanity and try to give these spaces
some colour with their graffiti. At home, their oblivious mothers
are waiting for them, whilst their fathers are absent. To emerge
from their boredom, they organize a hold-up with toy weapons
at a cinema box-office, working out every tiny detail of their
plan, like real professional criminals. The film is a critique of
Mexican society that does not help young people develop their
talent constructively.
This film follows the life of lifeguard Mauricio, who believes in
avoiding dangerous situations by adopting preventive methods.
However, the beach-goers want to enjoy their summer vacation
and they ignore his commands and advice. Mauricio guides the
audience through the marvels and tragedies that are integral to
the Chilean summer beach scene.
20
21
Calypso RoseThe Lioness
Of The Jungle
Pascale Obolo
Trinidad & Tobago
22
Lyiza
Marie-Clémentine
Dusabejambo
Rwanda
23
Nyami Nyami
And The Evil
Eggs
Tsitsi Dangarembga
Zimbabwe
24
Om Ali
Yara Lotfy
2011 | 13min 21sec |
Colour
Egypt
Calypso Rose is an ambassador of Caribbean music, a living
legend and a charismatic uncontested diva of Calypso Music,
often compared to great black singers such as Aretha Franklyn,
Myriam Makeba and Cesaria Evora. From Paris to New York,
from Trinidad and Tobago to Africa - in each place, one learns
a little more about the many facets of her existence. This road
movie is not only about memory, the exchange and discovery
of world cultures but also the journey of a militant and authentic
woman, an Afro-Caribbean soul, an exemplary artist, far from
the glitz and glitter that usually surround a career in showbiz.
The past is always present in the life of Lyiza who has to live
with the traumatic memory of her parents’ murder during the
genocide in Rwanda. When she recognizes in the father of her
classmate, Rwena, the person responsible for their murder,
she announces the crime publicly, creating great tension. But
harmony returns through the intervention of a teacher who
takes the youngsters to the museum of the genocide, a place of
memory, and guides Lyiza towards forgiveness. Without being
didactic and with an original narrative style, the film underlines
the importance of sharing experiences to bring about truth and
reconciliation.
This film presents in the form of a musical, a popular tale from
the tradition of the Tonga people of Zimbabwe. The legend
inspiring the film is that of Nyami Nyami, the snake god of the
waters of the Zambesi, whom the director portrays as a woman.
A demon emerges from the river and the population of a village
plagued by drought, remain spellbound by his presence. The
women who have intercourse with the demon will give birth to
demonic eggs. The goddess Nyami Nyami, who has the power
to save her people, sends a messenger to the village to fight
the demon.
On the days of the revolution in Tahrir Square, a grandmother
looks on as her grandchildren are caught up in the revolt. She is
fascinated by their engagement with and their activity on social
networks. The enthusiasm and hope of liberation brings back
21
to her mind the images of her husband, a martyr in the war of
October 1973. She prepares om ali, a typical Egyptian dessert
and decides to take this to the square for her grandchildren.
25
The Opened
Memories
Rosine Mbakam
Cameroon
26
Twitching
Leyla Bouzid
Tunisia
27
Jeans and
Martò
Clio Sozzani,
Claudia Palazzi
Ethiopia/Italy
This is a film that depicts the stories of African women- stories
of emigration, war, genocide, identity and abuse and of places
such as Congo, Rwanda and Belgium, where they find refuge.
The accounts of Rosette, Charlotte and Christine come alive in
the words and in the lives of other Belgian women who speak
on behalf of these feminine figures who, with pain and suffering,
emerge from their silence.
In the homes of the Tunisian bourgeoisie when a dramatic event
occurs, every step is taken to hide it. A girl comes home with
her face covered in blood. She has been attacked. Her mother
and brother help her but at the same time make her feel guilty.
Her father is kept in the dark. However, grief and pity will
ultimately drive the mother to take her daughter’s side.
This film tells the story of a young Ethiopian pastoralist who
escapes his arranged marriage to fulfill a dream. 23-year old
Roba, who comes from a remote Ethiopian village and belongs
to the Karrayu clan, has grown up among herders and their
camels. From the day Roba is born, his is a tradition-bound
destiny. However, his determination to break free, leads him
through a series of amazing events to surprising destinations.The
film reveals the complexity of Ethiopia in the new millenniumcaught between modernity and tradition, pastoralist and urban
lifestyles and old and new generations that struggle to adapt
to rapid transformation. Roba’s unique and privileged point
of view provides a new way of considering the burning issue
of how tradition and modernity can work together to build a
better future.
22
28
The Final
Whistle
Niki Karimi
Iran
29
Facing
Mirrors
Negar Azarbayjani
Iran
30
Body
Mustafa Nuri
Turkey
31
Future Lasts
Forever
Ozcan Alper
Turkey
This film is about a couple, Sahar and Saman, whose calm
life is disrupted when Sahar is informed that one of their cast
members faces a death sentence due to a murder charge.
She then begins to convince the relatives of the deceased to
overturn the sentence.
Poverty-stricken after her husband’s incarceration, Rana drives a
taxi to support herself and her young son. When she picks up a
passenger, Adineh, who pleads to be driven far outside Tehran,
Rana is reluctant to take the job, but is eventually swayed by
the money that wealthy Adineh promises to pay. During their
journey, Adineh-who prefers to be called Eddie-reveals that
he is a transgender, attempting to flee an unwanted marriage
orchestrated by his tyrannical father. Eddie is desperate to get
to Germany where he had already begun the sex re-assignment
process before being tricked into returning to his father’s home.
Conservative Rana is horrified and tries to get away, but a twist
of fate binds her to Adineh, forcing her to confront her prejudice.
The film is an engaging tale of friendship and redemption.
Leyla, in her 40s, is an occasional porn actress. Several years ago,
she moved to Germany with Yilmaz and they worked together
in the porn film industry. Now back in Istanbul, Yilmaz breaks
up with Leyla. While Leyla tries to get used to living without
Yilmaz, he approaches her with a final request of one last movie.
Reluctantly Leyla agrees to act in the film. And it is through this
movie that handsome young Izzet enters her life. Izzet is unlike
others in the business. Leyla enjoys Izzet’s attention and the fact
that finally someone is interested in her. Meanwhile, Yilmaz’s
love life takes a turn for the worse. Without telling his girlfriend
he records themselves while having sex. When Yilmaz’s girlfriend
comes home unexpectedly, she catches Yilmaz showing the
tape to his friends. She reacts furiously.
Sumru is a music researcher at a University in Istanbul. To
work on her thesis on gathering and recording an exhaustive
collection of Anatolian elegies she sets off for the south-east
23
of the country for a few months. The brief trip turns out to
be the longest journey of her life. During the course of the
trip, Sumru meets Ahmet, a young guy who sells pirated DVDs
on the streets of Diyarbakır; Antranik, the ageing and solitary
warden of a crumbling church in the city and numerous other
characters who witness the ongoing “unnamed war”.During her
three-month stay in Diyarbakir, while looking for the stories of
the elegies, she finds herself having to confront an agony from
her past which she had, until then, kept buried within.
32
Khalifah
Nurman Hakim
Indonesia
33
Life as a FableA Narrative
Huseyin Karabey
France
34
In Out
Zeynep Merve Uygun
Turkey
Khalifah (23) enters into an arranged marriage with successful
salesman Rasyid (33) in order to improve the financial situation
of her family. She discovers that Rasyid has hard-line Islamic
convictions and when she suffers a miscarriage he insinuates
that it might have been God’s warning for her to abide by the
rule that she must cover all of her body, including her face. She
begins to wear a veil and sees a drastic change in the way that
people treat her. Eventually, she makes a momentous decision
that reveals her as the true ‘leader’ of her new family.
Jülide Kural, an actress and theatre director famous for her role
as “Ipek” in the Turkish TV series Super Dad, wants to portray
Mexican painter Frida Kahlo’s life on stage, but is unaware of
the events which would thereby unfold. Kural and Kahlo came
together through spiritual and physical pain, a passion for life
and the existence and politics of femininity, but primarily by the
challenges of life and their personal struggle with it. This film
covers an eight-year-long story, from the rehearsals of the play
‘Frida Kahlo Yaşasın Hayat’ (‘Frida Kahlo Long Live Life!’) to the
present, depicting how Kural embodies Frida’s soul and how
similar they have become.
This film is about a Turkish filmmaker participating in a
documentary project organised in Europe and is the story of
her probation and deportation at the border between Serbia
and Bulgaria. The documentary, consisting of three main parts,
presents the concept of borders and aims to raise questions
24
about different constructs of citizenship and of the procedures
in place at border crossings.
35
Home Free
During a live TV programme, there is an incoming call which is
anything but ordinary for Tulin. She recognises the voice of the
Muge Manus
2011 | 5min 14sec | Colour caller. It is the first step to a life devoid of lies.
Turkey
36 A
Tetris
Mesure Melis Bilgin
2011 | 2min48sec |
Colour
Turkey
37
The Cemetery
Sevgi Akdaş,
M Salih Celik
France
38
Elza
Mariette Monpierre
Guadeloupe/France
This film is a recreation of the current day Istanbul skyline as a
doomed game of tetris set to a soundtrack of the city’s musical
landscape from the previous century. It opens with a re-worked
image of a 16th century miniature of the Pera neighborhood,
based around the landmark of the Galata Tower. As an unseen
hand plays tetris with neighborhood buildings erected throughout
the 20th century, the landscape shifts uncomfortably and signals
an unfortunate future.
The film depicts the lives of people who have settled down on
Mardinkapi street in Diyarbakir after evacuation of their village.
They decide to start working in a cemetery to keep their lives
afloat.
As a single mother in Paris, Bernadette tried hard to give her
daughters everything. She is thrilled when her eldest daughter,
Elza, the first college graduate in the family, completes her
master’s degree summa cum laude. But Elza breaks her mother’s
heart by running away to their native Guadeloupe in search of
a distant childhood memory - the father she barely remembers.
This award-winning feature debut by writer/director Mariette
Monpierre, which is the first narrative film by a female director
from Guadeloupe in the French West Indies, offers an unusual
insider’s view of lush island culture as she captures the passion
and contradictions of one particular family.
25
39
Sinking Sands
Leila Djansi
Ghana
40
The Ties That
Bind
Leila Djansi
Ghana
41
Aramotu
NIJI AKANNI
Nigeria
42
Random
Debbie Tucker Green
UK /South Africa
In this emotional masterpiece, Jimah and Pabi are a match
made in heaven until an accident leaves Jimah with a scar that
alters his physical appearance and turns him figuratively into a
monster. As violence and stress enter their relationship, Pabi
contemplates running away. Pabi has a chance to flee but her
guilt makes her stay, hoping and praying that Jimah will change
and that their relationship and marriage will get back on to an
even keel. Her fear of living alone without a family is a weakness
Jimah capitalises upon. But how long will Pabi endure? At what
cost will she buy her freedom? This film cuts across race and
sex and demands self evaluation from individuals subjected to
all types of bondage.
This film tells the story of three women from different walks
of life, bound together by a similar pain - the loss of a child.
In a destined meeting, in a small village, the women renovate
a dilapidated clinic for the villagers and journey together to
redemption, love, life and forgiveness.
A fictitious, myth-like tale that is set in the tradition-bound
Yorubaland of 1909, this film spins the story of Aramotu, a
wealthy female trader, who dares to stretch the boundaries that
ancient myths and traditions place on the life of the women of
her time. Aramotu tries to employ the social-engineering aspects
of the Gelede Cult to realize her progressive ideas about the
rights of women and the need for people-oriented governance
in her native Agesi village. Her crusade, in collaboration with a
rebellious artiste Gbegiro, not only jeopardizes her unusually
beautiful relationship with Akanmu, her supportive husband,
but also forces her to confront the venom of the community’s
reactionary elements - Olookande, the land-grabbing economic
shark, Lyalode, an envious women’s leader and a puppet-like
Head Chief.
The film opens with the family preparing for the day ahead.
Sister does not want to go to her office job. Brother has
overslept. Mother is just trying to make them all eat breakfast.
Father is sleeping off his night shift. Sister acts as a narrator and
26
the film jumps between two worlds, the studio where she is
telling her story and the real world where the family enacts this
unusual day. Text on screen, photographic stills and other visual
effects are used to add impact to the narrative.
43
Night
Husbands
FABIENNE KANOR
Martinique/ Burkina
Faso/ France
44
Monica Wangu
WamwereThe Unbroken
Spirit
Sometimes women are raped in the night in Martinique and
Burkina Faso. The abuser is not a human but a spirit- something
invisible and fleeting but whose presence speaks volumes about
how one reflects upon and defines sex in these societies.
This film explores the search for justice by a mother for her
three sons and forty nine other detainees locked up during the
clamour for multi-party democracy in Kenya. It is a story of
courage, determination and power for the powerless. Above
all, it is the story of a mother’s unconditional love.
Jane Munene
Kenya
45
The
Education of
Auma Obama
Branwen Okpako
Kenya
46
The Prayer
Shola Amoo & Nosa
Nedion
UK
This film is a captivating and intimate portrait of the U.S.
president’s older half-sister, who embodies a post-colonial,
feminist identity. An academic overachiever, Auma Obama
studied linguistics and contemporary dance in Heidelberg,
Germany, before enrolling in film school in Berlin, where
she met Nigerian-born director Okpako in the 1990’s. After
living in the United Kingdom for a short period, Auma Obama
eventually moved back to Kenya to mentor a young generation
of community activists, social workers and other ambitious
young men and women who lacked her privileged education
and training, but were nonetheless determined to make a
positive contribution to their society
Yasmin, a 16-year old Muslim girl from a traditional Bangladeshi
family, has spent the last 20 years in UK. As a result she is
quite the tough South London girl. As any other girl of her age,
Yasmin dreams a life of freedom, a career and happiness with
her boyfriend Femi, who comes from a different background.
27
Not approving her relationship, Yasmin’s parents immediately
and secretly organize to get her married to Abdul, a 40 year
old accountant, totally absorbed by his job, who never spends
time at home. Thrown into a completely different reality, far
from her colourful, warm and cozy home, Yasmin struggles to
settle to in the cold and clinical house and she also discovers a
dark side. Refusing to eat, drink, talk or accept her new duties,
Yasmin reveals her rebellious side. She is ready to run away
from a present that cannot be her future.
47
Women In
Hats
BRANDI BROWN
Trinidad & Tobago
48
Skin
David King
UK
49
Me Broni Ba
Akosua Adoma
Owusu
Ghana
50
Bad Weather
Giovanni Giommi
Germany
A free-spirited woman runs afoul of some members of her
community because she owns a jazz club and declines all
invitations to attend church. When she does agree to go, she
brings with her a shocking idea that threatens to turn things
upside down.
This is a poetic short film that celebrates black female identity
and the love of the self.
This film is a lyrical portrait of hair salons in Kumasi, Ghana.
The tangled legacy of European colonialism in Africa is evoked
through images of women practicing hair braiding on discarded
white baby dolls from the West. The film unfolds through a
series of vignettes, set against a child’s story of migrating from
Ghana to the United States. The film uncovers the meaning
behind the Akan term of endearment, me broni ba, which
means ‘my white baby’.
Banishanta is a brothel island. The prostitutes live and work on
this tiny sliver of land just 100 meters long and 10 meters wide in
the Bay of Bengal, South Bangladesh. Each of the women came
here for a different reason, either through a sister, because of
the need for money following the death of a father, or in search
of love and affection. The reality of everyday life is far tougher
than they ever could have imagined. The nature of their work
28
denies them even basic rights. Their children are teased because
they live in a brothel. And there is one more major and urgent
problem - the modest size of the island means that the women
are fighting for survival at the front line of climate change. Rising
river levels, soil erosion, and cyclones are steadily destroying
what is left of the island. Razia, Khadija, and Shephalie are three
of the last of sixty five women who lived on the island. They are
fighting for their houses and for the future of their families, even
while continuing to search for true love.
51
A Balloon for
Allah
Nefise Özkal
Lorentzen
Norway
52
33 Animals Of
Santa Claus
Laila Pakalnina
Latvia
The filmmaker decides to send a green balloon to Allah with
the message that the role of women in Muslim cultures has to
change. As a Muslim, she feels caught between two cultures.
The balloon brings her to Cairo to visit the 90-year-old writer
and activist Gamal al-Banna, who has received several death
threats for his free interpretation of Islam. She also meets a
fundamentalist Muslim, whose wife has never been outside
alone during the six years of their marriage. With his tough
questions, Al-Banna identifies the problem for the filmmaker
even as Asma Barlas, the most important contemporary female
interpreter of Islam, informs her about the connection between
the three Abrahamic religions - Christianity, Judaism and Islam.
The penetrating conversations are interspersed with creative
dream imagery, while the camera asks why one tries to cover
up what everyone can see.
This is a film portrait of a Latvian woman named Santa Claus,
who shares her apartment with 33 animals: seven dogs, six cats,
two rabbits, one crow, one pigeon, one chinchilla, 10 degu
rats, and five fish. This cheerful menagerie that Santa Claus has
created keeps her fully occupied. The animals need to be fed,
brushed, kept amused and taken out for exercise in groups.
Moments of calm alternate with moments of great agitation; the
animals are much like humans in the way stories are played out
between them. In this film, the dark interior of the apartment
and the snow-covered streets are two different worlds. But it
does not seem to be so to Santa Claus, who interacts with her
neighbours outside in much the same way as she does with her
animals.
29
53
Mama Illegal
Ed Moschitz
Austria
54
Guiding Sight
Katharina Harder
Sacre
Chile
55
A Woman for
Ivan
Francisca Silva
Chile
The inhabitants of poverty-stricken Moldavia sacrifice their
savings and risk their lives to become illegal aliens abroad.
The film follows three women from a small neighbourhood of
Romania, who work illegally as cleaners in Austria and Italy. Some
of these workers have been separated from their children and
family for many years. They have no rights to medical assistance
and also run the risk of being deported. The film depicts people
who stayed at home in Moldavia, as they demonstrate how
to cross the border by hanging beneath a train. Everyone is
dreaming of a better home, of parquet floors and televisions
that the women will finance upon their return. But the price is
high. The women’s stories are distressing. They hardly know
their own children, for whom they have given up everything for
a better future. Back home in Moldavia, family members wish
they had never let their wives and mothers go. This is a portrait
of the desperate inhabitants of a little piece of the Third World
in Europe.
Rafael Egaña is going blind. He goes through the images that his
father, a passionate photographer, has collected over the past
50 years. Each image represents a particular memory. But what
happens to these images with failing sight? Do they disintegrate
together with the visible world or do they become clearer? This
filmed was screened to critical acclaim at in Official Competition
at the Guadalajara International Film Festival.
Ivan (40) is living with Natalia (15) in an isolated house, a domain
that he dominates and rules. As Natalia’s powerful sexuality
begins to emerge, sunlight leaks into her room through the
closed curtains, breaking the atmosphere of repression and
control in which she is submerged. The house then becomes
an open battlefield, a space in which Ivan and Natalia reach
unexpected degrees of intimacy, conditioned at the same
time by the isolation from the outer world, the boundaries of
captivity, her craving for freedom and above all, the extinction
of all possible morality.
30
56
The Prize
Paula Marcovitch
Mexico/ France/
Germany/ Poland
57
The Rumble
Of The Stones
Aalejandro Bellame
Under the cloud of a military dictatorship, a young mother and
her daughter flee Buenos Aires for the seclusion of a ramshackle
cottage along the windy dunes of an Argentine beach. As her
mother listens for news from the radio with sad stoicism,
restlessly curious 7-year old Cecilia joins a nearby school
overseen by a kindly teacher. A childhood idyll, however soon
becomes contaminated by the general political crisis, as the
teacher recruits the class for a patriotic essay contest sponsored
by the army, the very people that may have already played
a key role in the disappearance of Cecilia’s father. This is an
engrossingly atmospheric drama about innocence in tumultuous
times.
Delia who survived a river flood ten years ago is trying to
rebuild her life but she soon discovers that a cloud hangs over
her two sons.
Venezuela
58
Karen Cries
On The Bus
Gabriel Rojas Vera
Colombia
59
The Tiniest
Place
Tatiana Huezo
Mexico
Karen discovers, after ten years of marriage, that abandoning
her dreams to devote herself to home chores, has been a
mistake that cost her her youth. She decides then to go in
search of a life, on her own. With her savings, she rents a room
in the centre of Bogota and tries to get a job, but her age and
inexperience make it difficult to do so. Karen will have to decide
between returning to the stability of a relationship or facing the
challenges of life on her own.
This is a story about mankind’s ability to arise, re-build and
re-invent after surviving a tragedy. It is a story about a people
that have learned to live with their sorrow; an annihilated
town that re-emerges through the strength and deep love
of it’s inhabitants for the land. It is a tiny place nestled in the
mountains, amidst the humid Salvadorean jungle.
31
60
The Bad
Intentions
Rosario
García-Montero
With humour and empathy, this off-beat drama, tells the story
of Cayetana, a solitary Peruvian girl with a vivid imagination,
who is convinced she will die, the day her brother is born.
Peru/ Germany/
Argentina
61
Captains Of
The Sands
Cecilia Amado
Brazil
62
I’ll Raffle Off
My Heart
Ana Rieper
Brazil
63
Ticket To
Paradise
Gerardo Chijona
Cuba/ Spain/ Venezuela
In the 1950’s in Salvador, a gang of street kids are committing
petty thefts and sophisticated mansion robberies. Abandoned by
all, they survive together as brothers. In their boys-only gang,
they discover love when a young orphan girl joins them. The
film portrays a year in the life of these kids, in which they are
heroes, fly like birds, have wonderful dreams, visit hell, discover
sex and, begin to understand the meaning of love, death and
freedom.
This film is about the music, the performers and the followers
of a Brazilian romantic music genre called Brega (‘cheesy’) by
music critics, but which is omnipresent in the interior of the
country and loved by the lower classes. Using the music as a
catalyst, the documentary shows the sentiments, suffering and
sexuality of the fans and their idols, revealing their practices and
desires. The themes of the songs are very close to the romantic
dramas and experiences of real people and the film faces the
challenge of depicting real situations, portraying actual lives.
A young woman’s life goes from one desperate situation to
another in this powerful drama. It is 1993 and Cuba has been
thrown into an economic tailspin after the fall of the Soviet
Union. Poverty is rampant, but that is the least of the problems
facing Eunice, a pretty teenage girl who has become the focus
of her widowed father’s sexual desires. Desperate to get away,
Eunice steals some cash and hits the road, hitching a ride with
anyone who can take her far away. Eunice falls in with Alejandro,
Fito and Lidia, three street kids who have abandoned their
families and live on the road, supporting themselves through
petty crime. While they lead a desperate life, Eunice feels a
32
kinship with her new friends, something that she has never felt
at home. This film was an official selection at the 2011 Sundance
Film Festival.
64
Calimucho
Eugenie Jansen
The Netherlands
65
Believing
Mijke de Jong
2011| 40min | Colour
The Netherlands
66
Loverboy
Catalin Mitulescu
Romania
Dicky bears the full weight of her small, financially unstable family
on her shoulders. She has an ambivalent relationship with her
brother-in-law Willy, who is the widower of Dicky’s deceased
sister, Jena. Dicky takes care of Willy’s little son Timo and treats
him as if he is her own son. When Willy’s parents suggest that
Timo should go to a boarding-school to get a normal education,
Dicky is very upset. She cannot understand why Willy wants to
send his own son away. A young Tunisian tent-builder Tarek
arrives to work in the circus. As Willy drinks a lot and often
gets aggressive, Dicky begins to spend more and more time in
Tarek’s company. Slowly but surely, Dicky realizes that she must
make a drastic choice. And it is not the choice between the two
men in her life.
Martine, a female GP, has a practice with many immigrant
patients. Having freed herself from the religious context in
which she was brought up and shaped by feminism, she believes
in self-determination and free development for everyone. She
believes that these are the principles with which she has raised
her own daughter. But will she be able to stay faithful to her
convictions, when her daughter Anna, strikes out on her own
and becomes a Moslem?
Luca the ‘loverboy’ of the title, is a charming boy who seduces
young naive girls so as to sell them into prostitution. He is a
middleman to the sex traffickers in Constanta, a now mostly
run-down resort on the Black Sea coast. Smart and slick, he is
a free spirit on his scooter, easily winning the confidence of the
girls. However, everything changes when Luca falls in love with
Veli, a girl from the country, who chooses to run away from her
conservative family to stay with him. In spite of trying to turn
over a new leaf, Luca finds that his old life and debts catch up
with him. In a desperate attempt to help Luca and to show him
that she is strong enough to be a part of his dangerous world,
Veli starts to sell herself to his acquaintances.
33
Network of Asian Film
Festivals (NAWFF)
In April 2010, The Samsung Women’s International Film
Festival, (SWIFF), curated by InKo Centre and presented
with support from Samsung India Electronics Ltd. and
a host of national and international partners joined the
Network of Asian Film Festivals (NAWFF) as one of the
founding members, along with the International Women’s
Film Festivals in Korea, Japan and Taiwan. Israel joined the NAWFF network in 2011.
NAWFF has been mooted with a view to share and optimise resources, provide
a platform for exhibition and distribution. NAWFF was formally inaugurated at
the International Women’s Film Festival in Seoul in April 2010 with an aim to share
resources, link into larger networks and to institute the NAWFF award, starting 2010.
The NAWFF Award is annually presented to women filmmakers in Asia, drawing
from a list recommended by NAWFF member countries. The winning and selected
films will be shown at the participating Festivals and hence will have the opportunity
to travel across Asia. The NAWFF 2010 award went to the Korean film A Brand New
Life by Ounie Lecomte. This film was screened at the 4th SWIFF in Chennai, in July
2011. The NAWFF Award 2011 was presented in Tokyo to Chennai-based Leena
Manimekalai’s Sengadal. The film premiered at the 4th SWIFF in Chennai in July 2011.
We are delighted to host the NAWFF Award 2012. The following films nominated by
NAWFF member Festivals will be screened at the 5th SWIFF and the NAWFF Award
2012 will be presented at the MainScreen, Russian Centre of Culture and Science on
Tuesday, 17 July 2012.
Nominations for the NAWFF Award 2012
01
In the
moment
Kyoko Gasha
Japan
How do you recover from an earthquake, tsunami and nuclear
meltdown that, in the span of a few minutes, wipe out members
of your family, the town where you live and all that you own?
Is a return to anything like “normal” possible? This film captures
the experience of loss on a massive scale by telling very intimate
stories of some of the survivors of the March 11, 2011 disaster
in Northeast Japan. One sees the power of nature that can
completely destroy pieces of civilization, but equally, the will of
human beings who overcome and endure such horrific disasters.
** Nominated by the Tokyo International Women’s Film Festival
(TIWFF), Japan.
34
02
Money and
Honey
Jasmine Ching-Hui LEE
Taiwan
This film intimately portray the lives of Filipino migrant workers
and the elders in a nursing home in Taipei. On this foreign island,
the female caregivers look after the ageing residents. In the flow
of life, stories of joy and sorrow take place. What’s the price
they pay for love and bread? Will their dreams ever come true?
In longing do we taste the flavor of money and honey…The film
also records the development of a unique female friendship, as
the director became a messenger whose camera relayed the
feelings and thoughts of the migrant workers and their families
to each other.
** Nominated by the Women Make Waves Festival, Taiwan.
03
Red Maria
KYUNG-SOON
Korea
In Korea, Japan and The Philippines, there are many women
with diverse jobs and her stories. Among them, this film focuses
on women who are called housewives, sex workers, dispatched
workers, migrant workers, comfort women, homeless and so
on. The camera tracks them as they go about their everyday
lives. These women have never met one another, and their
lives look quite different from one another. However, their lives
are connected across national borders by the one thing they
have in common. That’s their bodies and labor. How can such
different forms of labor be linked to the women’s bodies in such
a similar way? As we search for answers to this question, we are
forced to confront another question: ‘the meaning of labor’ as
an ideology that is reproduced in society.
** Nominated by the International Women’s Film Festival in
Seoul (IWFFIS), Korea.
04
Off White Lies
Maya Kenig
Israel
After years of living apart from her father, Libby, an introverted
yet sharp-witted teenager, is sent to live with him in Israel.
Her arrival coincides with the outbreak of the second
Lebanese war. Libby quickly discovers that her father Shaul,
is a infantile eccentric, and that he is homeless. Shaul comes
up with a creative plan to put a roof over their head- they
pose as refugees from the bombarded Northern region of
Israel and are taken in by a wealthy family in Jerusalem.Finally
in a “normal” household, Shaul and Libby begin to build their
35
relationship as a father and a daughter. But their false identities
cannot be concealed forever, especially as Libby unleashes her
pent-up anger against the lies permeating her life- those she
must tell now and those that she has been fed since childhood.
** Nominated by the Israel Women’s Film Festival (IWFF),
Israel.
05
Mera Apna
Sheher
Sameera Jain
The action is located in Delhi, the capital of India and focuses on
the experience of a gendered urban landscape where the gaze,
the voice and the body are at all times under surveillance. What
would happen if this multiple surveillance was to be turned upon
itself to observe what is contained in the everyday? The film
explores whether there is a sense of belonging, of ownership,
of the city. Can a woman in the city, feel truly free, even as she
continuously negotiates the polarities of anxiety and comfort?
** Nominated by the Samsung Women’s International Film
Festival (SWIFF), India
36
Women’s Cinema / Women and Cinema:
June Givanni, Rada Sesic, Gönül Dönmez-Colin, Alessandra Speciale
and Miyojo Hwang speak about the film packages that they have curated
specially for the 5th SWIFF, 2012.
Africa and its Diaspora
This year’s selection of African and African diaspora Films for SWIFF consists of new films
that have been made in the last two years and is a testament to the sheer persistence and
talent of the filmmakers. At a time when filmmakers on the African continent and elsewhere
are struggling more than ever to find finance and partners to make films, it is encouraging
that womenin the industry are making strides. The number of African and diaspora women
directors continues to grow and their skills are expanding, as you will see in this year’s
selection which, as in previous packages, also includes one or two films by male directors
which feature women as the central characters or are produced in collaboration with
women.
The expanding range of topics and genres is also a feature in this year’s selection of 12 films
including 5 feature films, 4 shorts and 3 feature documentaries.
East Africa – specifically Kenya - is significant in the documentary line-up this year with
Nigeria’s BranwenOkapo’s, profile of the Kenyan Auma Obama, a women driven to self
achievement from the very high achieving Obama family in the film The Education of Auma
Obama and Jane Munene’s The Unbroken Spirit profiling Monica Wangu Wam were, a woman
who led an unrelenting fight for democracy making much personal sacrifice, a film described
by the AFRIFF Jury in Nigeria last December who awarded the film the Best Documentary
Prize as a ‘profound and effective portrayal of an honest heroine!’.
Women who challenge the boundaries of tradition is also a theme in some of the films in this
selection. The period feature film Aramotu by Nigerian male director, NijiAkanni (a director
who trained in cinema at the National Film School of India! as a number of Nigerian and
African filmmakers generally - are doing)is a story based on Yoruba myth and is set at the turn
of the century. It is the story of a powerful woman trader who dared defy the ancient myths
and tradition placed on the lives of women at that time.
The theme is also found in a short film from the other side of the world, Trinidad and Tobago,
where a woman challenges her community’s expectations and values in a surprising way in
the delightful and insightful short film, Brandi Brown’s Women in Hats.
Linking the two continents, African women and Caribbean women reflect on their sexuality
in the context of the spiritual phenomena of ‘night husbands’, which women in both
37
continents – specifically featured are Burkina Faso and Martinique - have experienced and
bear witness to, in Martiniquan Fabienne Kanor’s stylish and engaging documentary, Maris de
Nuit (Night Husbands).
A different journey of self-discovery continues in Mariette Monpierre’s award-winning
Guadeloupe feature Elza’s Happiness, where the diaspora experience is shown to have a
significant impact on Elza’s identity – or lack of it.
No reflection on African women’s films can take place without a contribution from the prolific
and skilled Ghanaian women filmmakers. Continuing the theme of identity, the short film
Mi Broni Ba by Akosua Adoma Owusu – presents a really novel reflection on identity and
race from an unusual angle – questioning self love, and indicating the film artistry from Ghana
that is being developed. This year from Ghana we also havetwo of the latest features by the
director Leila Djansi. In her award winning films, Sinking Sands and The Ties That Bind, Djansi
provides gripping drama - about women’s lives with strong and complex female characters
– interweaved with issues of culture and identity. Both of her films display her storytelling
strength which she uses to great effect to present the complexities of the violence and abuse
that women suffer in the name of love or tradition.
Finally, I am glad to say that this year’s selection includes a small UK selection of recent
work from female and male directors that indicate concerns with some of the same themes
mentioned above and some unique UK preoccupations, all from the perspective of women .
Firstly, Debbie Tucker-Green and Nadine Marshall’s double act of stunning directing and
acting talent in the debut feature Random which has just won ‘Best Single Drama’ at the
BAFTAs (British Academy Film and Television Awards) in May 2012 , about a woman dealing
with the effect of the knife and gun violence that is decimating young black men in London.
In addition two short films address misplaced race prejudice, mixed with gender repression
and gender violence in Shola Amoo & Nosa Nedion’s short film Prayerand a lyrical reflection
on black identity and self love Skin resulting from a collaborative effort from a group of young
trainee male and female filmmakers.
Enjoy!
June Givanni
International Curator, African Diaspora in the USA, UK and from the African subcontinent
5th Samsung Women’s International Film Festival, Chennai, India, 2012
38
A Challenge F o r The Audience
Cinema, like no other art form, gives us the opportunity to perceive the world in a new
way, to better understand other cultures or specific backgrounds. That perspective can only
be cinematically articulated, when its provided through an insider’s view into this ‘different
world’. That’s how the directors of the films in this selection tell us stories about people and
the events that surround them. They observe and contemplate, they comment and give us
space to draw our own conclusions.
Most of the fiction films in the package that I have curated, contain something intriguingly
withdrawn and hidden. There is the suspense of words not spoken, the intensity of pain
not openly expressed and the outspokenness of behaviour that originates from the natural,
but remains inhibited. Some of the films come from the very North of Europe, from places
where the difference between summer and winter is almost only measured through the
length of the day, others from the far East of Europe, where the post-socialist crises can still
be felt, towards the very South of Europe where the Mediterranean mentality merges with
European and Asian life attitudes.
The largest number of films comes from The Netherlands, naturally, since it is where I live
and I know almost all films that are made there. However, that is not the only reason. In
Dutch cinema, several amazing female directors entered the scene lately and in their work
an inspiring, refreshing language of cinema is spoken – provided of course that the directors
have interesting things to say. Indeed, they do: these ladies do not make films for export,
neither for mediocre audiences at home. They give us a new and exciting view on the human
condition. They all have female characters in the core of the story, yet they do not take the
safe path of making feminist films. Their heroes are not fighters, they are thinkers – ordinary
women choosing a challenging road in the changing Europe of today. In that way, the films
are also very European; they give us an insider’s perspective on the evolution of family and
family values today in the North, West, East and South of Europe.
Questions concerning fidelity in marriage and in relationships of any kind and concerns about
faith and inner calls to believe in something strongly: it all comes out in a refined manner in the
chosen fiction films and documentaries. Especially, relationships between mothers, fathers and
daughters is being addressed in a very profound manner in both fiction and documentaries.
It is a very European and very intriguing view on the evolution of family values in European
societies. At the same time, several directors speak with a strong author’s cinematic voice,
complex and inspirational, often on the border of documentary and fiction, on crossroads of
different systems of cinematic thinking. The stories in those films like Calimucho, Believing or
Loverboy are told in such a way that they include many sharp observations of everyday life
details, of a life style influenced by broader circumstances.
39
Most of the documentaries are long, feature-length. That means they are made with
the intention to end up in cinema, being released and promoted almost as strongly as
the best fiction films. In Europe, it does happen. Luckily. Documentaries have become
appreciated, talked about, taken into account and financially supported. The biggest festival of
documentaries in the World, IDFA in Amsterdam, counts an average of 200,000 visits during
its 10 days edition. Some of the films from there you can find in this program too.
Unlike in previous years, when I focussed only on films by female directors, I have decided to
take two films made by male authors, films that treat in an intriguing manner topics that concern
women, for instance the problem of ‘Lover boys’, a threat to women spreading throughout
the whole of Europe. Men, young cute boys, seducing their girlfriends and manipulating them
into a life of prostitution, is a current danger for many girls. In the Netherlands many films,
TV programs and debates focus on this issue, and lately this is more and more the case in
Eastern Europe as well.
Some of the documentaries provoked discussions in the society and circles outside the
cinema scene; they are attempts to point out certain, usually unnatural, phenomena appearing
around us. Mothers living half of their life as illegal workers in order to help out their children
but actually making them unhappy and depressed in the process, is also a topic that is in focus
in this year’s curated package.
Documentary makers, following their subjects for a long time, achieve an openness and
directness that grants us a profound insider’s look into people’s lives, often powerful, even
confronting. The Austrian film Mama Illegal, shows how the people of Moldova, one of the
poorest Eastern European countries that is not part of the EU, suffer from the economical
crises determining their lives. Similarly, women in Bangladesh, who perform as sex workers
out of necessity, are beautifully well approached in the German film Bad Weather. This is the
only film in which the film maker and his crew go far from home to hunt for the story.
Cannes Film Festival this year included more documentaries in its competition than ever,
mixing purposely fiction films together with nonfiction and sending the message to the world
that only good cinema matters, regardless the genre. And this is exactly the bottom line of
this year’s curated package from Europe- creative cinematic approach, moving and relevant
stories, strong and original author’s imprint.
Come and enjoy!
Rada Sesic
International Curator for Europe
40
WHO ARE WE?
Identity has become one of the most debated issues of the twenty-first century. When
lives are in a constant flux due to social, economical and/or political oppression, foreign
aggression or civil wars, the issue of identity becomes very complex. All too often, the notion
of identity - personal, religious, ethnic or national - has given rise to the desire to repress
and/or exterminate the ‘other’.Whereas earlier societies with a social order based firmly
in tradition would provide individuals with (more or less) clearly defined roles, in modern
societies individuals have to chart their roles themselves. Identity can be considered as a
conception of the self in relation to others, which is constructed in the social and historical
contexts by the creation of the differences between self and other as an outcome of their
interactions.
Cinema’s role in defining identities –national, cultural, ethnic, religious, political or sexualand challenging their validity is very important. Commercial cinemas often construct identities
based on homogeneity regardless of the differences in religion, ethnicity or sexuality,
promoting a heterosexual, masculinist and nationalist point of view. In our part of the world,
particularly wherethe Muslim religion is predominant (with variations in actual or endorsed
practices), where transition from tradition to modernity is not complete, gender issues and
presentations of sexuality and alternative sexual choices in cinema are tightly connected to
the evolution of morals. Such evolution often gains visibility through the stories of women
as more dramatic characters’ and asthe distinguished Turkish filmmaker, the late Atıf Yılmaz,
once told me, ‘in all levels of society, they are in search of an identity’.
First time filmmaker Mustafa Nuri’s Body focuses on a woman with personal problems who
cannot adjust to the traditional Turkish society after having worked in cheap porno films in
Germany. Her identity is shaped by her lover, who uses her for personal gain. When a young
man, truly in love with her, tries to give her a new identity, as a respected woman and mother,
she is confused. Who is she? Another woman isabused by her late husband;overweight
and miserable, she tries to live vicariously through her handsome son’s possible recognition
as a star (to fit the dreams she builds watching television series), extending her misery to
her overweight daughter. Who are they? Who gives them these identities? What about the
housewife who presents to the outside world the ‘ideal family’? A woman who has forgotten
her femininity to fit the role imposed by society? The film questions prejudices of our societies
that judge individuals according to how they appear in public, their body and the way they
dress themselvesand does not give thema chance for personal development.
Facing Mirrors by Negar Azarbayjani from Iran is also a film about imposed identity. In closed
societies where heterosexuality is the norm and anything else is considered a disease, a
young woman fights for her identity, not constructed by society, but by herself, as a personal
choice. In the Final Whistle by Niki Karimi, society is a life-threatening trap for women,
regardless of social status. Degrees of oppression exist for women, in the slums but also in
41
the places of the educated and sophisticated. Khalifah by Nurman Hakim from Indonesia
shows how the customs and conditions of an androcentric society can mould an intelligent
and independent woman’s identity according to their own ideologies and eventually succeed
in victimizing her.
A very political film from Turkey, Future Lasts Forever by Özcan Alper shows how the ‘othering’
of those who do not share the same ethnic background leads to state oppression, the majority
of the sufferers being women who lament the loss of their loved ones. Out of the darkness
comes a film of hope, a strong woman’s fight against sickness and prejudice inspired by the
Mexican artist Frida Kahlo, in Life as a Fable: A Narrative by Huseyin Karabey.
I have chosen the theme of identity and belonging for the section I have curated for the
5th SWIFF. Films included,made by established or emerging film-makers, from Iran and Turkey
and also from Indonesia, a Muslim Asian country, reflect lives of women in search of their
identity in a world where identities (especially women’s) are still caged by customs, traditions,
religion or the state although many young women today refuse to accept to be ‘flowers’ (the
so-called compliment from men, which actually means to be thrown away when wilted) and
rebel against the forced binaries of ‘Madonna or Magdalene’. I hope that the audience will
find the sparks of this new awakening even among the darkness.
Gönül Dönmez-Colin
International Curator, Middle East & Turkey
5th Samsung Women’s International Film Festival, Chennai, India 2012
From Africa To Mexico Via Italy:
Ten Young Women Defend The
Cinema Of Their Countries.
My selection this year only includes films made by women, with special attention to the short
films by young African women from five different countries (Cameroon, Tunisia, Rwanda,
Zimbabwe and Egypt). What better opportunity can there be than these short fiction films,
small productions that do not require large budgets, to test and map out the latest trends
of the cinema in Africa and to discover the new talents from those countries? The majority
of African directors have to depend on Europe to produce their films and those filmmakers
who live in Europe are obviously privileged. It has become increasingly difficult for a director
who lives in Africa to produce his/her film, especially feature films and art house films.
Nevertheless, some female talents have emerged in the past few years out of this productive
desert, like the director from Zimbabwe, Tsitsi Dangarembga. In a country where quality
42
cinema is practically absent, seven years after her last success Mother Day, Tsitsi is once
again making her voice heard with a new short film, Nyami Nyami, the second in a trilogy of
folktale musicals. Tsitsi gives a musical reinterpretation of oral tradition with a very personal
and evocative language, rich in symbolism and tribalism. Her reference to the ancestral and
truculent elements of tradition sparked off heated debate in her country on the relationship
between cultural identity and cinema. There are some who refuse the “tribal” aspect of their
culture and on the contrary those who see in its representation a path for the creation of a
national film aesthetic. Some audience members were troubled by what they perceived to
be a barbaric portrayal of Africans, that they were presented as cannibals. Tsitsi Dangarembga
viewed this response as a direct reaction against stereotypes about Africa in history, thus
wanting Africans to be seen as perfect human beings. Similarly, as a feminist she understands
that women too are not perfect human beings and that there are also negative aspects about
them.
I have dwelled on this short film and on the debate that it triggered off to emphasise the
importance of the cultural exception, or the defence of a national cinema that represents a
country from an internal point of view against the now globalized trend of the consumption
of imported cinema.
Another country that is poorly represented by its filmmakers is Rwanda. For historical and
economic reasons here too, the emigration of the country’s talent has impoverished the
natural cultural offering. Marie-Clementine Dusabejambo, the director of Lyiza, is a very
young director who made her first steps in the cinema thanks to an innovative project, the
Almond Tree Films Collective, a production company founded with humanitarian aid by the
Korean-American director Lee Isaac Chung, near Kigali which has trained some local young
people who dreamt of the cinema but did not have the chance to study abroad. There have
been a number of films which have tried to tell, explain and understand the genocide in
Rwanda, but few directors have been able to express themselves without rhetoric and using
an original language as Clementine has. The young director does not give in to the media
temptation of representing horror but concentrates on the post-trauma effects of a small girl,
Lyiza, and on the importance of sharing experiences and the education received at school to
regain confidence in the future.
The young director from Cameroon, Rosine Mbakam, also learned the first rudiments of
the cinema thanks to training in the audiovisual sector by an Italian NGO, the COE which
set up an audiovisual cell in the town of Mbalmayo in Cameroon, where there is no film
school either. Her short film is based on an original and highly effective idea. To talk about
African women and their painful experiences in situations of war and abuse, Rosine collected
the accounts of some African woman which she asks European women to interpret, thus
becoming witnesses of their suffering. The effect of the role play gives the tragic accounts a
new force, that of solidarity but also that of the deep contrast between the two worlds.
43
The young director Yara Lotfi, on the other hand, comes from a film school and her end of
course film, Om Ali, offers us a simple and intimate story of the recent revolution in Cairo,
through the eyes of a grandmother who follows the revolution through the frantic activity
of her two grandchildren at the computer. In this case too, it is a short film that comes
from “inside”, bypassing superstructures and economic implications that often weigh on the
screenplay of feature films and brings us into direct contact with the reality of a country. No
television reportage could ever show us such a genuine and sincere view of the revolution.
A more “classic” choice is that of Leyla Bouzid, a debut filmmaker and daughter of the great
Tunisian director Nouri Bouzid, at grips with the theme of the mother-daughter relationship
in Soubresauts. Perhaps for the first time on Arab screens, the young filmmaker does not
identify herself with the daughter but takes the point of view of the mother, first suspicious
and inquisitorial about her daughter who returns home after having been attacked, but then
becomes her courageous accomplice, defending her from the opinion of society.
Going on to the feature films, from Africa we travel to Mexico with the first film by a young
woman from Mexico City, Iria Gomez Concheiro, who first trained as a photographer and
then moved on to directing. The tough urban reality of the suburbs of the Mexican metropolis
and the boredom of young people who have no opportunity to develop their talents in a
constructive way are at the centre of her first film. In a country where directors are mainly
men, young Iria succeeds in emerging and portraying the malaise of her generation in this
film which was selected for the Sundance Film Festival in 2011.
A more anomalous film, although still with a social theme but inspired by the meticulous
observation of society, is the documentary Salvavidas by the Chilean Maite Alberdi who
constructs a hybrid film in this selection, midway between documentary and fiction. Interesting
an convincing, the film unfolds around the figure of Mauricio, a lifeguard on one of the most
popular beached of Santiago, who plagues the bathers with his rules but is frightened of the
water.
And to investigate the relations and bonds between these two continents, Africa and Latin
America, this year again I have included in the selection a film which goes beyond the borders
of production and unites distant continents. Whilst last year it was a Venezuelan documentary
that grasped the correspondences between Afro-Colombian culture and the culture of
Cameroon in Tambores de agua, this year with Calypso Rose, the lioness of the jungle, it is a
Cameroonian director who offers us an intense and unforgettable portrait of the lioness of
calypso, the great diva of Trinidad, the Myriam Makeba of the West Indies. The film is not only
an intimate portrait but it is also a road movie. We travel from Trinidad and Tobago to New
York, Paris and even Africa in the footsteps of the great singer. On the way, Calypso Rose
reveals her personal story, her innovative musical successes, her commitment to defend
women’s rights, her faith, her worries and her fears and, above all, her strong love for life
and people.
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Another film that crosses continents is the documentary by the Italians Claudia Palazzi and
Clio Sozzani who tell us about today’s Africa between tradition and modernity (jeans and
the martò/the traditional costume of the title) through the story of an Ethiopian boy, Roba,
originally from a village of herders in the Karrayu tribe who is able to study despite the
resistance by his family and comes to Turin in Italy, invited to an international trade fair.
With great sensibility, the two directors enter Roba’s life and follow him for a few years,
giving us a moving intimate portrait of the boy, capturing his fears, his feeling of guilt
vis-à-vis his family and the internal conflict between the respect of traditions and the need for
self-determination. But the desire to change everything is stronger than everything and makes
us hope in an Africa that is changing.
Alessandra Speciale
International Curator, Africa, South America & Italy
The Active Year For Films Made
By Women In South Korea
As South Korean cinema has gained international attention, recognition has been given not
only to art house films circulating mainly through the international film festivals but also to
other various Korean films with diversity of content, theme, and style. Casting light on female
filmmakers and films focusing on female-centric issues with a gender-specific perspective is
very critical in order to understand South Korean cinema. Adopting women’s perspective is
vital to developing an understanding of the world, and the Samsung Women’s International
Women’s Film Festival (SWIFF) in Chennai, India, which has presented Korean women films for
5 years, is a crucial setting in which to offer the chance to glimpse and contemplate women’s
perspective in South Korean cinema. As a programmer of the International Women’s Film
Festival in Seoul (IWFFIS) which is a co-member along with SWIFF of the Network of Asian
Women’s Film Festivals (NAWFF), I am tremendously honored to join the 5th annual SWIFF
by contributing to the selection process of Korean films.
2011-2012 has been the most active year in filmmaking among Korean female directors.
This year’s Korean selection consists of feature films, documentaries, and short films both by
experienced and by new-fledged female filmmakers and one woman-oriented feature film
by a male filmmaker.
Renowned women filmmakers, who have critical acclaim with regard to filmography and
positive audience response but have upheld silence for many years, including Byun Youngjoo, Lee Jeong-hyang, and Jeong Jae-eun, whose previous films have been shown at SWIFF
before, have appeared once again before audiences. In particular, Byun Young-joo’s Helpless
became a box-office hit, which is currently not common for women filmmakers in South
45
Korea. Rolling Home with a Bull, by Yim Soon-rye, another well-known female filmmaker to
the public and almost the only female director who has worked continuously without a break,
will also be shown. Yim Soon-rye’s keen sense of minority in Korean society extends and
transcends to the religious and philosophical level. A newly promising director, Boo Ji-young,
whose feature debut, Sister on the Road, which was shown at the 3rd SWIFF, shows her two
most recent works, Moonwalk and Myselves: The Actress No Makeup Project, at this year’s
SWIFF. In My Selves The Actress No Makeup Project, 3 actresses, credited as co-directors
with Boo, shoot and narrate about themselves. Kim Kko-bbi, one of three, is one of the
fastest growing and emerging Korean actresses in the international art-house film circuit with
her appearance in the film Breathless (2008, Yang Ik-joon). Yang Eun-yong, another actress,
played the lead role of the film Viewfinder (2008, Kim Jeong) screened at the SWIFF 2011.
Boo’s two films explore the issues of femininity, sexuality, and a feeling of loss lead by women
trying to lead independent lives amid the current precarious state of everyday life in Korea.
Jesus Hospital, one of the most acclaimed debut films in 2011-2012, is also another notable
representation at this festival. This film is truly secular and spiritual while the same time
presenting the irony between the truth and a lie, life and death, and salvation and despair.
Hwang Jeong-min, one of the most beloved actresses in the independent filmmaking scene,
delivers a brilliant performance in this film.
The achievement of documentaries by women filmmakers is remarkable for the year of
2011-2012 as well. Documentaries from South Korea shown at the 5th SWIFF thematically
focus on the contesting concepts from women’s perspective on the family, intimacy, marriage,
and community in contemporary Korean society, and these films have generated decent
box-office score upon their theatrical release. Red Maria, by veteran feminist documentary
filmmaker and nominated for the 3rd NAWFF award, presents a vision of female labor and
the inter-Asian transnational women community, which is a very intensive for audiences. The
short films selected by and shown at the 14th IWFFIS offer a glimpse into the future for South
Korean women’s cinema.
Miyojo Hwang
International Programmer for the Korean section of the 5th Samsung Women’s Film Festival,
Chennai, India, 2012
46
ParallelScreen at Kalakshetra
This section features a specially curated package of films, courtesy the Films Division of India,
that comment on other art forms- films on music; on dance; on sculpture as well as films that
commemorate remarkable women of extraordinary grace and substance.
01
Bhinna Shadja
Amol Palekar,
Sandhya Gokhale
India
02
Bhavantara
Kumar Shahani
India
Kishori Amonkar’s divine music has entranced the audience for
years. For Kishore Tai, music has a long unbroken history in the
form of her Gurumata Mogubai Kurdikar, fondly known as Mai,
who was the quintessence of Tai’s life. Wounded by the painful
feeling that Mai never received recognition proportionate to her
legendary talent, Tai donned a resolute, impenetrable mask in
stark contrast to Mai’s fragility and vulnerability. Another aspect
of Tai’s struggle for which she was frequently criticized was her
‘transcending her musical oeuvre beyond the conventions and
traditions of Jaipur-Atrauli Gharana’. Her experimentation with
alapchari or her liberties with traditional renditions were vilified
by conservatives as intolerable deviations. The musical voyage
of this tireless explorer continued unperturbed despite all such
denunciation. Ultimately she found her position repeatedly
vindicated by stupendous audience patronage and a string of
honours including the Sangeet Natak Academy awards (1985
& 2011) and the titles ‘Ganasaraswati’, the Padma Bhushan
(1987) and the Padma Vibhushan (2002). The film is an
accessible portrait of a pensive, creative artist whose life has
been sublimated and consumed by her art.
Guru Kelucharan Mohapatra is one of the greatest exponents
of the classical dance form of Odissi. Like most highly evolved
forms of art, Odissi dance draws from the energy of sculpture,
painting, literature and its precedent dance forms. Guru
Kelucharan Mohapatra who was born in 1926 in Raghurajpur,
a village in Orissa, dedicated his life to refining the dance
form by chiseling out an elegant structural niche for this art
form. Through a series of performances, poetry and excerpts
from Guru Kelucharan Mohapatra’s life, the film travels back
to a time in India when dance was looked upon as a form of
prayer. During this beautiful period, dance was not considered
exclusively feminine and men were also keen patrons and
teachers of dance. However, as times have changed, women
have gradually taken over this art form.
47
03
Minukku
M R RAJAN
India
04
Siddheshwari
Mani Kaul
India
05
Sitara Devi
Amar Varma
India
06
Begam
Akhtar
N K Issar
India
This film is based on the life and art of celebrated septuagenarian
Kathakali performer, Kottakkal Sivaraman. This film is shot in
his village Karalmanna in Palakkad district. Veteran Malayalam
film actor Nedumudi Venu appears in the film as a guest and
interacts with Kotakkal Sivaraman. A rich Kathakali performance
by Kalamandalam Ramankutty Nair, Kalamandalam Gopi along
with Sivaraman is another highlight of the film. Distinguished
cartoonist E.P. Unni portrays important moments in the life
of Sivaraman and showcases his Kathakali performances. The
film attempts to evoke the artist’s childhood and captures the
uniqueness of this renowned artist.
This film is about the great thumri singer Siddheshwari Devi,
who was born in 1902. Breaking all conventional modes of
biographical or documentary filmmaking, this film becomes a
work of transgression. Like a sufi wanderer, it celebrates a life
of exile. This is a film that takes the non-representational to its
limits, turning the fictional material natural to a biography into a
presentation and the objects and locations into an imaginative
musical score.
This is a biographical film about Sitara Devi, the well-known
Kathak dancer, who gave up a career in films to pursue Kathak,
a dance form that combines storytelling and movement with
grace and fluidty. A perfectionist by nature,Sitara Devi was
hailed as the “Queen of Kathak” by Rabindranath Tagore.
The film portrays different aspects of the personality of “Begum
Akhtar” known as “Ghazal and Thumri Queen”. The empathetic
depiction of the artist as a housewife and as the “Queen of
Melodies”enriches the film and gives it a sense of both intimacy
and immediacy.
48
07
Aum Namah
Shivaya
Lokesh Lalvani
India
08
Mohiniattam
Through The
Ages
Parvathi, the Goddess of Dance, daughter of the Himalayas and
consort of Shiva-Nataraja, is credited with bringing dance, as an
art form, to Earth. Various manifestations of dance are found
in India from the Himalayas in the north to Kanyakumari in the
south. While wandering across the Earth, Goddess Parvathi
interacts with the sculpted architectural forms and offers her
prayers to the Gods in the form of sacred dances. It is these
dances that.
Mohiniattam, an ancient dance form of Kerala, has undergone
a great transformation over the years, vastly enriching its
repertoire over time. This film analyses the metamorphosis of
Mohiniattam, the dance of the enchantress.
Sivan
India
09
Ahmed Jaan
Tirakwa
This film focuses on the life and performance of the tabla player,
Ustad Ahmad Jaan Thirakwa.
Lakshmi Shankar
1971 | 14min | B&W
India
49
Screening Schedule
Movie Director name - Country 15.7.2012 | day 01
Time
(hrs)
(S.no, Pg no)
Russian Centre of Science and Culture
AUDITORIUM
1100-1300
Off White Lies Maya Kenig * - Israel Women In Hats Brandi Brown *
- Trinidad & Tobago SCREEN 1
33 Animals Of Santa Claus
Laila Pakalnina - Latvia
My Father’s House Kangyu Ga Ram
- Korea
The Cemetery Sevgi Akdas &
Mehmet Celik * - Turkey
SCREEN 2
In A Better World Susanne Bier - Denmark AUDITORIUM 1400-1700
Mera Apna Sheher Sameera Jain º
In The Moment Kyoko Gasha *
- Japan The Song Is Singing Shim Hye-Jung
- Korea SCREEN 1
Play Nam Da-Jeung * - Korea The Life Guard Maite Alberdi Chile The Opened Memories Rosine Mbakam
- Cameroon / Belgium SCREEN 2
Future Lasts Forever Ozcan Alpe
- Turkey - India
Index
04, 35
47, 28
52, 29
11, 11
37, 25
18, 20
05, 36
01, 34
18, 12
01, 09
20, 20
25, 22
31, 23
50
Movie Director name - Country Time
(hrs)
Index
(S.no, Pg no)
Director’s Cut :
1700-1800
In conversation with Mariette Monpierre (Guadeloupe) , June Givanni
& Rosa Carillo (Mexico)
AUDITORIUM
1800-2100
Elza Mariette Monpierre º - Guadeloupe The Education Of Auma Obama
Branwen Okpako * - Kenya / 38, 25
45, 27
SCREEN 1
Unknown Woman Elena Kivihalme
- Finland Girl Princes Kim Hye-Jung - Korea Twitching L eyla B ouzid - Tunisia 16.7.2012 | day 02
(UK)
15, 19
10, 11
26, 22
AUDITORIUM
1100-1300
Money and Honey Jasmine Lee Ching-Hui *
- Taiwan
02, 35
Lights In The Dusk Yu Eun-Jeong
- Korea 21, 13
Skin D avid K ing * - Korea
48, 28
SCREEN 1
Khalifah Nurman Hakim - Indonesia
Song’s Worklog Navi - Korea
32, 24
06, 10
SCREEN 2
The Cinema Hold-up Iria Gomex Concheiro
- Mexico 19, 20
03, 35
Monica Wangu Wamwere - The Unbroken
Spirit Jane Munene * - Kenya / 44, 27
AUDITORIUM
Red Maria Kyung-Soon * - Korea
1400-1700
SCREEN 1
Joanna Feliks Falk - Poland/France/Germany
01, 15
51
(hrs)
Index
The Two Lines Ji Min - Korea SCREEN 2
Stars Above Saara Cantell - Finland Guiding Sights Katharina Harder Sacre *
- Chile Home Free Muge Manus - Turkey Director’s Cut :
1700-1800
In conversation with Boo-Ji Young & Miyojo Hwang (korea)
AUDITORIUM
1800-2100
My Selves: The Actress No Makeup
Project Boo Ji-Young, Kim Kko-Bbi, Seo Young-Ju,
Yang Eun-Yong º - Korea
Tale Of Night Fairies Shohini Ghosh - India Me Broni Ba Akosua Adoma Owusa * - Ghana SCREEN 1
Body Mustafa Nuri - Turkey The Dance Saba Dewan º - India 17.7.2012 | day 03
(S.no, Pg no)
02, 09
08, 17
54, 30
35, 25
15, 12
03, 04
49, 28
30, 23
02, 04
AUDITORIUM
1100-1300

North Country Niki Caro - U.S.A SCREEN 1
Mama Illegal Ed M oschitz - Austria Lyiza M arie- Clementine D usabejambo - Rwanda SCREEN 2
Flying Fish S anjeewa Pushpakumar a - Sri Lanka AUDITORIUM
1400-1700
The Tiniest Place Tatiana Huezo * - Mexico Random Debbie Tucker Green º - South Africa SCREEN 1
Jahaji Music S ur abhi S harma - India Life As A Fable : A Narrative Huseyin Karabey
- Turkey Moonwalk Boo Ji-Young º Korea 13, 18
53, 30
22, 21
03, 15
59, 31
42, 26
05, 05
33, 24
05, 09
52
(hrs)
Index
SCREEN 1
Lover Boy C atalin M itulescu - Romania In The Eyeshot Of Me Oh Ji-Hye - Korea Introduction to the Network Of
1700-1800
Asian Film Festivals (NAWFF) and presentation of the
NAWFF Award 2012
66, 33
14, 11
AUDITORIUM
1800-2100
Helping Mihaela Hanna May Lettin º
- India That Fired Soul-Voyages Across a Gandhian
Landscape Aravind Kumar - India SCREEN 1
The Bad Intentions Rozario Garcia-Montero 
- Peru /Germany / Argentina My Sweet Baby Ryu Mi-Rye * - Korea 18.7.2012 | day 04
(S.no, Pg no)
12, 18
14, 19
60, 32
04, 09
AUDITORIUM
1100-1300
º
Akam/ Palas In Bloom Usha Shalini Nair
- India Seventeen In Summer Jo Seul-Yeah - Korea SCREEN 1
The Women From The Lake Of
Scented Souls Xie Fei - China Transiam Wesley Cho - Korea Tetris Mesrure Melis Bilgin - Turkey / SCREEN 2
Jesus Hospital A-Ga & Lee Sang-Cheol
- Korea Nothing To Lose Robert Y Chang - U.S.A
AUDITORIUM 1400-1700
Dweepa Girish Kasaravalli º - India 07, 06
19, 12
05, 16
12, 11
36, 25
09, 10
04, 16
09, 06
Jin-Ok Goes To School Kim Jin-Yeul
- Korea SCREEN 1 Facing Mirrors Negar Azarbayjani - Iran 07, 10
29, 23
53
(hrs)
Night Husbands Fabienne Kanor
- Martinique/Burkino Faso/ France / SCREEN 2 Fried Fish, Chicken Soup And
A Premier Show Mamta Murthy º - India Could You Love Johanna Vanhala - Finland Director’s Cut :
1700-1800
Page to Screen- a discussion with Girish Kasaravalli &
Usha Shalini Nair (India)
AUDITORIUM
1800-2100
The Drifter Tatjana Turanskyj º Germany Jeans & Marto Claudia Palazzi, Cleo Sozzani
- Ethiopia / Italy Hope Bus, A Love Story Park Sung-Mi
- Korea / SCREEN 1
The Prize Paula Marcovitch *
- Mexico / Poland / Germany I’ll Raffle Off My Heart Anna Rieper - Brazil
19.07.2012 | day 05
Index
(S.no, Pg no)
43, 27
01, 04
10, 18
11, 18
27, 22
16, 12
56, 31
62, 32
AUDITORIUM
1100-1300
The Rumble Of Stones Aalejandro Bellame *
- Venezuela Mom Came Over The Sea Yeon -Kyung J ung
- Korea 24, 13
SCREEN 1
Nazar M ani K aul - India
12, 07
SCREEN 2
Captains Of The Sands Cecilia A mado
- Brazil In Out Z eynep M erve U ygun - Turkey /
61, 32
34, 24
AUDITORIUM
1800-2100
Kung Fu Grandma Park G eong-O ne
- Korea 20, 13
57, 31
54
(hrs)
Index
Sinking Sands Leila Djansi - Ghana
39, 26
Mirroring Lives: Violence against Women on
Screen - a discussion co-ordinated by The Prajnya Trust
SCREEN 1
Re Encounter Min Yong Keun - Korea A Balloon For Allah Nefise Özkal Lorentzen
- Norway 03, 09
51, 29
SCREEN 2
A Woman For Ivan Francisca Silva * - Chile Nyami Nyami And The Evil Eggs
Tsitsi Dangarembga - Zimbabwe ParallelScreen Tagore Hall, Kalakshetra
(S.no, Pg no)
55, 30
23, 21
1600-1830
Bhinna Shadja Amol Palekar, Sandhya Gokhale
- India Sitara Devi Amar Varma - India Mohiniattam Through The Ages
Sivan - India / Director’s Cut :
1700-1800
In conversation with Tatjana Turanskyj Usha Shalini Nair
01, 47
05, 48
08, 49
(Germany)
AUDITORIUM
1800-2100
Suraj Ka Satvan Ghoda Shyam Benegal 
- India 11, 07
For Posterity: An introduction to the film restoration project undertaken by
the National Film Development Corporation
SCREEN 1
The Lulu Sessions S C asper Wong - U S A 06, 16
Bad Weather Giovanni Giommi
- Germany / Bangladesh / 50, 28
20.07.2012 | day 06
AUDITORIUM
1100-1300
Ticket To Paradise Gerardo Chijona *
- Cuba/Spain/Venezuela In Our Ghetto Marcus Werner Hed
- Nigeria 63, 32
07, 17
55
(hrs)
SCREEN 1
Arzoo Shashi Ghosh Gupta India Karen Cries On The Bus
G abriel R ojas Ver a * - Columbia SCREEN 2
I Want To Be A Mother
S amruoddhi Porey India AUDITORIUM
1400-1700
Rolling Home With A Bull
Yim Soon Rye - Korea Believing Mijke De Jong - The Netherlands SCREEN 1
The Ties That Bind L eila Djansi - Ghana Hanoi Eclipse - The Music Of Dai Lam Linh
B arley N orton - Vietnam
Just Kid’s Play Kim Ji-Young - Korea SCREEN 2
Cuban Boyfriend H o H yun J oung - Korea ParallelScreen Tagore Hall, Kalakshetra
1600-1830
Bhavantara Kumar Sahani - India Minnukku M R Rajan - India Index
(S.no, Pg no)
04, 05
58, 31
06, 05
25, 14
65, 33
40, 26
02, 15
23, 13
08, 10
02, 47
03, 48
Director’s Cut :
1700-1800
Eugenie Jansen (The Netherlands) & Niki Karimi (Iran)
AUDITORIUM
1800-2100
The Final Whistle Niki Karimi º - Iran Calimucho Eugenie Jansen º
- The Netherlands SCREEN 1
Vazhakku En 18/9 Balaji Sakthivel - India Here Where We Meet Kim Min - Korea Om Ali Yara Lotfy - Egypt 28, 23
64, 33
14, 08
22, 13
24, 21
56
Movie Director name - Country 21.07.2012 | day 07
Time
(hrs)
Index
(S.no, Pg no)
AUDITORIUM
1100-1300
Innocent Saturday A le x ander M indadze *
- Russia SCREEN 1
A Family Pernille Fischer Christensen
- Demark The Prayer Shola Amoo And Nosa Nedion
- UK SCREEN 2
Jinsuk & Me Lee Soo-Jung - Korea Marupakkam Dhayanithi - India 17, 20
09, 17
46, 27
17,12
13, 08
AUDITORIUM
1400-1700
The Pervert’s Guide To Cinema
Sophie Fiennes  - UK Home Sweet Home Kwon Oh-Kyung - Korea SCREEN 1
Calypso Rose - The Lioness Of The Jungle
Pascale Obolo - Trinidad & Tobago Invoking Justice Deepa Dhanraj º - India 16, 19
13, 11
21, 21
08, 06
SCREEN 2
Aramotu Niji Akanni - Nigeria 41, 26
ParallelScreen Tagore Hall, Kalakshetra
1600-1830
Siddheshwari Mani Kaul - India Aum Namah Shivaya Lokesh Lalvani - India Ahmed Jaan Tirakwa Lakshmi Shankar - India 04, 48
07, 49
09, 49
Director’s Cut :
1700-1800
In conversation with K P Suveeran & Deepa Dhanraj
(India)
AUDITORIUM
1800-2100
º
Byari K P S uveer an - India 10, 06
57
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film synopsis

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