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Á¦8ȸ DMZ ±¹Á¦´ÙÅ¥¸àÅ͸®¿µÈ­Á¦(2016)

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Ã౸Àå °¡´Â ±æOn Football

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  • Spain
  • 2015
  • 70min
  • DCP
  • color

Asian Premiere

Synopsis

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Review

ÀÌ°ÍÀº Á¤³ç ´ÙÅ¥Àϱî. ´ÙÅ¥¸àÅ͸® ¿µÈ­Á¦¿¡¼­ ¾ö¼±ÇÑ Çʸ§ÀÌ´Ï Æ²¸²¾øÀÌ ´ÙÅ¥ÀÌ°ÚÁö¸¸, ¼øÀüÈ÷ ³¹¸» ¶æÀ¸·Î Á¢±ÙÇÏ°Ç´ë, ÀÌ Çʸ§ÀÌ »ç½Ç ±× ÀÚü¸¦ ÂïÀº ¡®´ÙÅ¥¡¯¶ó°í ÇÑ´Ù¸é, ÀÜÀÎÇÒ Á¤µµ·Î ½½ÇÁ°í ¹«¼­¿ï Á¤µµ·Î ¾Æ¸§´ä´Ù. Æø¿ì ¼Ó¿¡ Ä¡·¯Áø °æ±â°¡ ¹«ÂüÇÏ°Ô Æй踦 ´çÇÑ ³¯ ¹ãó·³, »îÀÇ ¹«°Å¿î ¾ö¼÷ÇÔ, °ð Á×À½ÀÌ ÀÌ ´ÙÅ¥¿¡ ´ã°Ü Àֱ⠶§¹®ÀÌ´Ù.

¾ÆµéÀº, Áö³­ 20³â µ¿¾È ¾Æ¹öÁö¸¦ ¸¸³­ ÀÏÀÌ ¾ø´Ù. ±×·² ¼ö¹Û¿¡ ¾ø´Â, »ýÀÇ Âû°ú»óÀÌ 20³âÀ» Âû³ªÃ³·³ È帣°Ô ¸¸µé¾ú´Ù. ¾ÆµéÀº, Ã౸±¤ ¾Æ¹öÁö¿Í ÇÔ²² 2014ºê¶óÁú ¿ùµåÄÅ ±â°£ µ¿¾È ÇÔ²² ÀÖ±â·Î °á½ÉÇÑ´Ù. ±×·¯³ª ¸ðµç ¾î±ß³­ °¡Á·»ç°¡ ±×·¸µíÀÌ, µÎ »ç¶÷ÀÇ ´ëÈ­´Â ¾î»öÇÏ°í ºÒÆíÇÏ´Ù. ¾Æ¹öÁö´Â ¾ÆµéÀÌ ¾ÆÁÖ ¾î·ÈÀ» Àû¿¡ Ã౸Àå¿¡ µ¥·Á°¬´ø ÀϵéÀ» ¶°¿Ã·Á ¸»ÇÏÁö¸¸ ¾ÆµéÀº ÀüÇô ±â¾ï¿¡ ¾ø´Ù°í ´ë´äÇÑ´Ù. ±×·¸°Ô 20³âÀÌ Èê·¯¹ö¸° °ÍÀÌ´Ù.

ÀÌ ´ÙÅ¥´Â, ÇÑ »ý¾Ö¸¦ Èû°ã°Ô, °íµ¶ÇÏ°Ô, ±×·¯³ª Ã౸°¡ Àֱ⿡ ±×³ª¸¶ Áñ°Å¿ï ¼ö ÀÖ¾ú´ø ÇÑ ³ëÀÎÀÇ ¸¶Áö¸· ÇÑ ´ÞÀ» ÀÏ°üµÈ ħ¹¬À¸·Î ´Ù·ç°í ÀÖ´Ù. ´ëµµ½ÃÀÇ À̾߱â°Ç¸¸ Çʸ§¿¡´Â È¥ÀâÇÑ µµ½ÃÀÇ ¼ÒÀ½Á¶Â÷ Èñ¹ÌÇÏ°Ô µé¸°´Ù. º´¿øÀ¸·Î ±ÞÈ÷ µé¾î¼­´Â ¾Úºæ·±½º ¼Ò¸®µµ, ºê¶óÁú¿¡¼­ µé·Á¿À´Â ¿ùµåÄÅÀÇ °ñ ÇÔ¼ºµµ, ¾ÆµæÇÏ°Ô µé¸°´Ù. ÀÌÀ¹°í ¿ùµåÄŵµ ³¡³ª°í ³ëÀÎÀÇ »îµµ ³¡³­´Ù. Ã౸°¡ ¾ø¾ú´õ¶ó¸é ±Ø´ÜÀÇ °íµ¶»ç¿¡ °¡±î¿üÀ» ³ëÀÎÀÇ ÇÑ »ý¾Ö´Ù.

±× ÅÖ ºó ½Ã°ø°£ ¼ÓÀ¸·Î ¾ÆµéÀº ¾Æ¹öÁö°¡ ¿îÀüÇÏ´ø Â÷¸¦ ¿îÀüÇÏ´Ù°¡, Èí»ç ·¹À̸յå Ä«¹öÀÇ ¼Ò¼³Ã³·³, ¾Æ, ±×·¸Áö? ¿ùµåÄÅÀÌÁö, ´©°¡ ¿ì½ÂÀ» ÇÑ °ÅÁö? Çϸç â¹®À» ¿­°í ´©±º°¡¿¡°Ô °æ±â °á°ú¸¦ ¹°¾îº»´Ù. ¾Æ¹« °Íµµ ¾Æ´Ñ °Í °°Áö¸¸, Ã౸´Â, ±×·¸°Ô ÇÑ ÁÜÀÇ À§·Î°¡ µÈ´Ù. [Á¤À±¼ö]​

Director

  • ¼¼¸£½Ã¿À ¿Á½º¸¸Sergio Oksman

    A Story for the Modlins (2012)Notes on the Other (2009)Goodbye, America (2007)The Beautician (2004) Football is not a metaphor. It does not symbolize anything, does not substitute anything¡¦ Football itself was simply an example of a kind of methodology.Football is an eventful match in which rules are perfectly written: a green rectangle, a limited length, some strict rules, two teams. Formality and symmetry are very footbolistic: a rectangle and two opponent teams.The World Cup gave us a clear sense of time with a beginning and an end perfectly defined, a space and some chosen protagonists. It also provided us a playful and also daring sensation of controlling the future. We, as filmmakers, proposed a series of precise hypothesis that we wanted to accomplish during this month: scenes, situations, itineraries.​ 

Credit

  • Screenwriter Carlos Muguiro, Sergio Oksman
  • Cinematography Andre Brandao
  • Editor Carlos Muguiro, Sergio Oksman

Contribution / World Sales

Contribution / World Sales  Patra Spanou

Phone  49 15201987294

E-mail  patra.spanou@yahoo.com

Website  http://www.patraspanou.com​