Marc Marder

아카이브 영화, 클레이 애니메이션 등 다양한 영화적 형식을 통해, 정치적 폭압과 공포의 기억을 다루어 온 리티 판 감독의 궤적을 집대성한 에세이 필름이다. 이 정치적 우화는 동물들이 주인이 된 디스토피아적 세계를 배경으로 펼쳐진다. 지도자인 멧돼지를 비롯한 유인원, 곰, 사자들은 한때 인간이 그랬던 것처럼 혁명을 일으키고, 인간을 지배하고 노예로 부린다. 그리고 동물들은 인간이 이전 시대에 만든 다종다양한 영상들을 본다.

After 15 years in prison, for committing a murder to save his father’s honour, Modan returns to his village in Punjab. In his absence, the village’s power structure has shifted towards a landowner, to the detriment of his family. Worse still: his brother is the landowner’s lapdog.

Paris, summer 1942. Irene is a young, bubbly, 19-year-old Jewish girl. Her family watches her discover the world, friends, new love and a passion for the theatre. The aspiring actress is living her youthful life without a care in the world, but she does not know that time may be running out.

시간이 지나도 사라지지 않는 악(惡)이 퍼져가는 흔적을 다양한 형식의 자료 화면과 퍼포먼스 이미지를 통해 정면으로 포착한다. 전쟁과 원폭, 민간인 학살의 참혹한 풍경, 파시즘을 예견하는 현대사의 비극적 순간들이 분할 화면 속에 쉬지 않고 등장하는 가운데 낮은 목소리의 나레이션은 고통 속에 사라진 이들을 추모하며 다가올 세대의 미래를 근심한다.

그리스에서 비극적인 사고를 겪은 미국인 관광객. 그가 알 수 없는 이유로 암살의 표적이 된다. 남자를 조여오는 정치적 음모의 실체는 무엇일까. 그 답과 생존을 향한 필사의 도주가 시작된다.

히말라야의 작은 카페에서 일하는 키산은 빠르게 변화하는 세상을 바라보 면서 고민에 빠진다. 그는 지금처럼 히말라야의 작은 마을에서 느리지만 예 측 가능한 삶을 살 것인지, 도시로 나아가 새로운 삶을 시작해야 할 것인지 선택의 기로에 놓인다.

After The Missing Picture (Un Certain Regard winner 2013 and Oscar nominee for the Best Foreign Language Film in 2013) and Exile, Rithy Panh continues his personal and spiritual exploration. S21 the Khmer Rouge Killing Machine and Duch, Master of the Forges of Hell analyzed the mechanisms of the crime. Graves Without a Name searches for a path to peace. When a thirteen-year-old child, who lost the greater part of his family under the Khmer rouge, embarks on a search for their graves, whether clay or on spiritual ground, what does he find there? And above all, what is he looking for? Spectral trees? Villages defaced beyond recognition? Witnesses who are reluctant to speak? The ethereal touch of a brother or sister’s body as the night approaches? A cinematic movie that reaches well beyond the story of a country for that which is universal.

Exil is a visionary narration of the exile of Cambodians during the Red Khmer regime, during which the country was renamed Democratic Kampuchea.

Set in Red Hook, a Brooklyn neighborhood on the verge of gentrification, GOOD FUNK follows three generations of citizens whose lives intersect through acts of kindness both big and small.

If you would like to witness the forces of colonialism in brute action, Rithy Panh’s extraordinary new film provides the long view. A masterpiece of editing, the film assembles archival footage and antiqued title cards into a wordless recapturing of the Indochinese Empire, beginning with the early days of French occupation. In this prelapsarian age, everything is golden with promise. Ladies, in empire waist gowns and enormous hats, throw candies to local children. Great steamships carry French culture abroad, and the Tricolore flag flies on high.

올해 칸영화제 ‘주목할만한 시선’ 부문에서 대상을 수상한 작품. 캄보디아의 크메르 정권 당시의 억압된 처참한 기억을 찰흙 인형과 사진과 기록영화 이미지로 재구성하였다. 자료화면으로 대변되는 공적 역사와 찰흙인형으로 재현된 사적 기억이 절묘하게 겹치며 왜곡되고 은폐된 역사를 다시 써나간다. (2013년 제18회 부산국제영화제)

The film centers around a young French widow and her two adolescent children attempt to carve out a meager life for themselves by farming rice fields alongside the ocean in French Indo-China in the 1930's. Their efforts are hampered each year by the presence of the sea, which invariably floods the fields with saltwater and wipes out the crops. In desperation, the mother realizes that their only hope lies in the construction of a sea wall to prevent continued flooding, but the mother must cut a swath through the local bureaucracy in an almost Sisyphean attempt to make this happen. Meanwhile, her obstinate daughter, Suzanne, draws the romantic obsessions of a well-to-do Chinese gentleman, Monsieur Jo; though he could easily provide a way out, the possibility of a romantic relationship between Jo and Suzanne could just as easily fall prey to local racial prejudices that would damage or ruin the lives of both.

The Arbac de Neuvilles are one of the oldest families in France. They have inhabited their ancient château for fifty-two generations and are proud of their noble ancestry. But today they are stone broke. When a bailiff turns up notifying them that they owe two million euros in back taxes, these proud aristocrats are understandably shaken to the core of their ancestral seat. Just how are they to find this amount of money when none of them has any capacity for work?

Paris, 1900. The 16-year-old Gigi lives in a world of mere women, inspired by Anna Karenina and Madame Bovary, she doesn't want to surrender to the "bondage of a loveless marriage".

A blend of fact and fiction, based on the actual lives of the actors, the film depicts a troupe of actors and dancers struggling to practice their art in the burned-out shell of Cambodia's former national theater, the Preah Suramarit National Theater in Phnom Penh.

Documentary about the life of Christian Dior and the founding of his fashion house in Paris.

France, 17th century, during the reign of Louis XIII. When a dear friend, the Duke of Nevers, is treacherously assassinated by a powerful relative, a skilled swordsman, the noble Henri de Lagardère, seeks his rightful vengeance as he tries to protect the innocent life of the duke's last heir.

Documentary of the S-21 genocide prison in Phnom Penh with interviews of prisoners and guards. On the search for reasons why this could have happened.

Set in the newly-pacified Phnom Penh, this film is about the return to civilian life of Cambodian soldiers.

알베르(마티유 카소비츠)가 자신의 옛 시절을 회상하며 시작된다. 알베르의 아버지는 어머니의 말처럼 세계1차 대전에 참전해 사망했거나 주변 사람들의 말처럼 알콜 중독으로 죽고 없다. 2차 대전 말기 어머니와 함께 살고 있는 알베르는 방에 틀어박혀 창밖의 사람들을 관찰하고 사전으로 개념을 배운다. 1942년 연합군의 공습을 피하기 위해 집을 찾은 이베트와 사랑에 빠져 결혼한다. 결혼 후 세일즈맨으로 징집을 피해 살던 중 자신의 어머니가 나치의 협력자임을 알게됨과 동시에 이베트의 가족에게서 소외감을 느껴 파리로 떠난다. 호텔 입구에서 구걸을 하며 살아가던 그는 우연히 프랑스 레지스탕스 모임을 발견하고 거짓 삶을 만들어내기 시작한다. 신문을 읽고 프랑스 레지스탕스에 대한 정보를 모두 암기해 자연스레 레지스탕스 모임에 합류하고 어느새 그는 레지스탕스 영웅으로 재탄생한다. 중령이라는 중책을 맡고 독일로 떠나 공적까지 세웠지만 그는 자신의 정체를 폭로하고 만다.

A poor, rural Cambodian family slowly disintegrates during the cycle of a single rice crop in this moving, and beautifully photographed European drama adapted from a novel by Shahnon Ahmad. Pouev, his wife Om, and his seven children, live in a small rural village in Cambodia. Their whole precarious life depends upon the success of their rice crop. Both husband and wife are worried, but for different reasons. Pouev is concerned because their acreage is shrinking. Om worries about Pouev; what would happen to her and the children if he died or was injured? Her worst fear is manifest after Pouev steps upon a poisoned thorn and dies. Om finds herself heavily burdened with the responsibilities of maintaining the crop and caring for seven youngsters. She suffers paranoia from worrying about whether the children are doing their share and the other villagers lock her up leaving eldest daughter Sokha to bring in the crop.

In order to escape from the mob, an African-American man must disguise himself as a white man.

A street artist (Charles Lane) rescues a baby girl (Nicole Alysia) after her father is murdered. The artist then sets off to find the mother, but has to first learn how to care for the child. Ultimately he ends up in a horse drawn chase of the murderers.

A New York artist witnesses a crime and resolves to redeem his earlier inaction. A silent film in pantomime, this early work by director Charles Lane brings a unique deftness and grace to its social realist narrative.