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Á¦8ȸ DMZ ±¹Á¦´ÙÅ¥¸àÅ͸®¿µÈ­Á¦(2016)

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ºÓÀº ¿ÊRed Clothes

Âù ¸®´Ù

  • Cambodia
  • 2016
  • 65min
  • DCP
  • color

World Premiere

Synopsis

įº¸µð¾Æ ¼¶À¯»ê¾÷ÀÇ Áß½ÉÁöÀÎ ÇÁ³ðÆæ ±³¿Ü, ÀþÀº ³ëµ¿ÀÚ Æ¼ ¼ÒÆÄ´ÏÆ®´Â ¾Æ³»¿Í 5»ì ³­ ¾Æµé°ú ÇÔ²² »ì°í ÀÖ´Ù. ³óÃÌ Áö¿ªÀΠįÆþÃ÷³¶¿¡¼­ ³ó»ç¸¦ Áþ´ø ±×´Â À¯¸í ºê·£µå ÀÇ·ù¸¦ Á¦Á¶ÇÏ´Â °øÀå¿¡ ÃëÁ÷ÇÏÁö¸¸ ±×°¡ ¹ö´Â ¼öÀÔÀº °Ü¿ì ±¾¾î Á×Áö ¾ÊÀ» ¸¸Å­ÀÇ ³·Àº ÀÓ±ÝÀÌ´Ù. ´õ ³ªÀº ³ëµ¿Á¶°Ç°ú ÀÓ±ÝÀ» ¿ä±¸ÇÏ´Â ½ÃÀ§¿¡ Âü¿©ÇÑ ¼ÒÆÄ´ÏÆ®´Â °æÂûÀÇ ÃѾ˿¡ ¸Â¾Æ ºÎ»óÀ» ´çÇÏ°í, įº¸µð¾Æ ÀÇ·ù ³ëµ¿ÀÚµéÀÇ ÅõÀïÀº Á¡Â÷ °Ý·ÄÇØÁø´Ù.

Review

¼¼°èÈ­´Â ¸¹Àº °ÍÀ» °¡´ÉÄÉ ÇßÁö¸¸ ¿ª¼³ÀûÀ¸·Î ´õ ¸¹Àº °ÍÀ» ¹«·ÂÇÏ°Ô ¸¸µé¾ú´Ù. ÀÌ ¾ç±Ø´Ü¿¡¼­ Àΰ£ÀÇ °¡Ä¡´Â °¡Àå ºü¸£°Ô ´Ù¸¥ °ÍÀ¸·Î ´ëüµÇ°Å³ª Áö¿öÁ³´Ù. įº¸µð¾Æ´Â ´Ù±¹Àû ÆÐ¼Ç ºê·£µå »ê¾÷ÀÇ ¾Æ½Ã¾Æ ÆĶó´ÙÀ̽º·Î ºÒ¸®Áö¸¸ ÀÌ ÆĶó´ÙÀ̽º¸¦ ÀÌ·ç¾î³»´Â À̵éÀº ¾î¶°ÇÑ ÃÖ¼ÒÇÑÀÇ °¡Ä¡Á¶Â÷ º¸Àå¹ÞÁö ¸øÇϸç ÅõÀïÀ¸·Î »îÀ» À̾°í ÀÖ´Ù. 24½Ã°£ ÀÏÇÏ¸ç ³¯¸¶´Ù ¼ö¹éÀÇ ¿ÊÀ» ¸¸µé°í ¸î ´Þ µ¿¾È ¹«±ÞÀ¸·Î ÀÏÇصµ, ±×Àú ÀûÁ¤ ±Þ·á¸¦ ¿ä±¸ÇÏ´Â À̵鿡°Ô µ¹¾Æ¿À´Â °ÍÀº °©ÀÛ½º·± Á÷ÀåÆó¼â¿Í °ø±Ç·ÂÀ» µ¿¿øÇÑ »çÃøÀÇ ¾Ç¶öÇÑ Åº¾ÐÀÏ »ÓÀÌ´Ù. ¼ÒÆÄ´ÏÆ® ¿ª½Ã ´õ ³ªÀº ³ëµ¿Á¶°ÇÀ» ¿ä±¸ÇÏ¸ç ½ÃÀ§¿¡ Âü°¡ÇßÁö¸¸ °æÂû¿¡ ÀÇÇÑ ÃÑ»ó°ú ÁÖ¸ñ¹ÞÁö ¸øÇÏ°í ½ÇÆÐÇÑ ÅõÀïÀ̶ó´Â ÁÖÀ§ÀÇ ½Ã¼±À» °ßµ®³»¾ß¸¸ ÇÑ´Ù. ±×·¸°Ô ³ëµ¿ÀÚµéÀÇ ¿ÜħÀº °è¼Ó µÇ¾î°¡°í, Ä«¸Þ¶ó´Â ¹¬¹¬È÷ ±×µéÀÇ ÅõÀï ÇöÀå°ú ¼ÒÆÄ´ÏÆ®ÀÇ ÀÏ»óÀ» µÚµû¸¥´Ù. °¨µ¶Àº À̸¦ µÑ·¯½Ñ ÀüÅõÀû °¨Á¤¿¡ ÈÛ¾µ¸®Áö ¾Ê°í ±×µéÀÇ ¼Óµµ¿¡ ¸ÂÃß¾î ÇÑ °ÉÀ½ ÇÑ °ÉÀ½ ³»µóÀ¸¸ç ¾Æ¹«µµ ±Í ±â¿ïÀÌÁö ¾Ê´Â ¸ñ¼Ò¸®°¡ ¿ÂÀüÈ÷ ¼¼»óÀ» ÇâÇϵµ·Ï ÇÑ´Ù. <ºÓÀº ¿Ê>Àº ±×·¸°Ô À̵éÀÇ Ç¥Á¤°ú °øÀåÀÇ Ç³°æÀ» ¼¶¼¼ÇÏ°Ô Æ÷ÂøÇÏ¸ç ¼¼°èÈ­ ½Ã´ëÀÇ °æÁ¦¹ßÀü°ú ¼ºÀå ¾Æ·¡ ½ÅÀÚÀ¯ÁÖÀÇ ½Ã´ë¸¦ »ì¾Æ°¡´Â ³ëµ¿ÀÚÀÇ ÃÊ»ó°ú ÅõÀïÀÇ ¿©Á¤À» ±×·Á³½´Ù. [ÃֹξÆ]

Director

  • Âù ¸®´ÙChan Lida

    Red Wedding (2012)My Yesterday Night (2010) There are nearly 700 000 Cambodian young farmers left their homes villages to work in the thriving factories as cheap workforce for international textile brands. Genuine grievances on minimum wages have perennially been ignored.I had the opportunity to meet Ty Sophanith during labor protests that took place over several months in late 2013 and early 2014. Only after being wounded by police bullets during a peaceful wage-increase demonstration, Sophnaith and family agreed to testify and to be filmed to show to the world the real situation of Cambodian labors¡¯ life.I choose to tell Sophanith¡¯s story to humanize the issue of poor and deplorable living conditions of Cambodian textile workers. This film is, for me, a unique means to reverse the role of the victim.​ 

Credit

  • ProducerLida Chan
  • Cinematography Saobora Narin
  • Editor Saobora Narin
  • Music Thom Thom
  • Sound Saem Narin

Contribution / World Sales

Contribution / World Sales  Chan Lida

Phone  85589508920

E-mail  lidachan@yahoo.fr​