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°¨µ¶ : ¸¶¸£¼¿ ¾Æ´± Marcel Hanoun
France / 1968 / B&W / Sound / 64mins / 35mm to 2K

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Description
ÀÛÇ° »ý»êÀÇ ÁÖü¿Í ´ë»ó¿¡ ´ëÇØ ¹¯´Â Áú¹®¿¡ ´ëÇØ ¸¶¸£¼¿ ¾Æ´±Àº °ÅâÇÑ ¹æ½ÄÀ¸·Î ´ë´äÇÏÁö ¾Ê´Â´Ù. ÀÏ·ÃÀÇ µå¶ó¸¶Æ½ÇÑ ÇàÀ§¸¦ º¸¿©ÁÖ´Â °Í°ú´Â ´Þ¸® ±×´Â <¿©¸§>¿¡¼­ Àþ°í ¾Æ¸§´Ù¿î ÁÖÀΰøÀÇ »îÀÇ ¼ø°£µé »çÀÌ¿¡ ÃÊÁ¡À» ¸ÂÃá´Ù. ±×´Â ÆÄÆíÈ­µÈ Àå¸é, À籸¼ºÇÑ À̹ÌÁö¿Í ¹®, â, È°ÀÎÈ­·Î¼­ °Å¿ï°ú °°Àº ÇÁ·¹ÀÓµéÀ» ´Ù·ç°í ÀÌ ¸ðµç °ÍÀº µå¶ó¸¶¿Í ij¸¯ÅÍÀÇ ¹ßÀüÀÌ ºÎÀçÇÑ °÷¿¡¼­ ¹Ýº¹Àû ÇൿÀÇ ÀÏÁ¾ÀÇ Ä«Å»·Î±×·Î °ü°´°ú ´ëÄ¡ÇÑ´Ù. ¼ø¼öÇÑ ÁøºÎÇÔÀ¸·Î Ư¡Áö¾îÁö´Â ÀÌ·¯ÇÑ ¼ø°£µéÀº °á±¹ ½ÇÀç ´ë»óÀ» À̾߱âÀÇ ±Õ¿­·Î ºüÁ®µé°Ô ÇÑ´Ù..À̾߱âÀÇ ¼­½ºÆ潺³ª ÀýÁ¤¿¡ ±â¿©ÇÏÁöµµ ±ØÀûÀ¸·Î ÁøÇàµÇÁöµµ ¾Ê±â¿¡ ÀÌ·± ¸ðµç ÀÏ·ÃÀÇ Àå¸é, ½ÃÄö½º, À̹ÌÁö´Â ´Ù¸¥ ¾î¶² °¨µ¶µé¿¡°Ô´Â ÀÚ¸£°í, Á¦°ÅÇÏ°í, »èÁ¦µÇ¾î¾ß ÇÒ °ÍÀÌÁö¸¸ ¹Ù·Î ÀÌ·¸°Ô È®¸³µÈ °Å¸®°¨À¸·Î ÀÎÇØ ¾Æ´±Àº ÀÚ½ÅÀÇ ¿µÈ­ÀÇ ÇÙ½ÉÀû ÀǹÌÀÎ ´ë¸³, ¿å¸Á°ú ½ÇÀç »çÀÌÀÇ ³íÀïÀû °ü°è¸¦ µå·¯³¾ ¼ö ÀÖ´Â °ÍÀÌ´Ù. ÀÌ·± ¹æ½ÄÀ¸·Î, ÀÛÇ° »ý»êÀÇ ÁÖü¿Í ´ë»ó¿¡ ´ëÇÑ Áú¹®Àº ´õ Á¤È®ÇÑ ¹æ½ÄÀ¸·Î À籸¼ºµÈ´Ù. Áï ÀÚ½ÅÀÌ ¹Ù¶ó´Â ¹Ù¿Í ÀÌ·¯ÇÑ ¿å¸ÁÀ» ÃæÁ·½ÃÅ° À§ÇØ ¾î¶»°Ô ½ÇÀ縦 º¯È­½ÃÅ°°íÀÚ Çϴ°¡ ¸»ÀÌ´Ù. (³ªÃÊ Ä«Áö°¡)

‘Who creates? And for whom?’ What is important is that Hanoun does not answer these questions in a grandiloquent way. On the contrary, far from showing a series of dramatic actions, he focuses on the in-between moments in the life of his beautiful young protagonist. He plays with fragments of the scene, reframing the image, using frames (doors, windows, a mirror as a tableau vivant) and all of this confronts the viewer with a sort of catalog of repetitive acts, where drama and character development are absent. These moments characterized by their pure banality end up permitting the real subject to slip through the cracks of the narrative... a whole series of scenes, sequences, images, that any other director would have cut, eliminated, removed, because they contributed neither to the narrative’s suspense nor its climax, nor to its dramatic progress, but which, because of the distance established, permit Hanoun to reveal the key, the meaning of his film: the confrontation, the controversial relation between desire and reality. In this way, the questions — Who creates? And for whom? — are reformulated in a more precise way: what one wishes for and how one seeks to change reality to satisfy this desire. (Nacho Cagiga)

 

+ ¸¶¸£¼¿ ¾Æ´± Marcel Hanoun
¸¶¸£¼¿ ¾Æ´±Àº 1929³â 10¿ù 22ÀÏ Æ¢´ÏÁöÀÇ ¼öµµ Æ¢´Ï½º¿¡¼­ ž 2012³â 9¿ù 22ÀÏ ÇÁ¶û½º Å©·¹Å×À¯¿¡¼­ »ç¸ÁÇß´Ù. ±×´Â ¿µÈ­°¨µ¶ÀÌÀÚ »çÁøÀÛ°¡ÀÌ°í, ÇÁ¶û½º ÀÛ°¡¿´´Ù. ±×´Â <¹ãÀÇ ²ø·¹¸£>(1978), <´Ü¼øÇÑ À̾߱â>(1958), <°¡À»>(1972) µîÀÇ ÀÛÇ°À¸·Î ³Î¸® ¾Ë·ÁÁ® ÀÖ´Ù.

+ ´í ¼³¸®¹ø Dan SullivaÀÇ ±Û
   
   
   
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