2002
Venice Film Festival
國際影評人費比西獎、最佳新進演員、最佳導演銀獅獎
國際影評人費比西獎、最佳新進演員、最佳導演銀獅獎
最佳新人女演員
Celebrated Korean director Lee Chang-dong is hailed as a “poet of cinema.” With his background as a novelist, he masterfully captures the harsh realities of life at the margins with delicate nuance. Peppermint Candy unfolds in reverse from a man’s final moments, revealing how a once-hopeful youth is worn down by fate into someone he never wanted to become. Oasis portrays a forbidden, unconventional romance between an ex-convict and the sister of his victim, where love becomes the only refuge in a barren reality. In Poetry, a graceful elderly woman is forced to confront the shattering truths of life, learning that reality is rarely as beautiful as imagined. Join Giloo in revisiting Lee Chang-dong’s timeless classics, which lay bare the raw, unflinching truths of human existence.
The body is a vessel—its contents, unspeakable. Encased and bordered, the body is never entirely one’s own. It is governed—by nations, by societies, by ideologies. A body may be incomplete from birth. It may only reveal itself in a fleeting moment. It may only feel whole when it sings. Its darkness becomes whole when it finally takes revenge. Five distinct films illuminate the tension between the body's inner desires and outer image. In Oasis, a woman with cerebral palsy dances and sings with an Indian elephant—if only in a dream. In Silent Steps, Ah-Chung tosses aside his crutch, holding up an entire theater with just his hands. In Miracle, a spirit medium’s quivering, closed-eyed body breaks into another dimension. In TPE-Tics, Huang Da-Wang owns his body only while singing onstage. In The Women’s Revenge, a woman in an eye patch strikes back inside a slaughterhouse, leaving male bodies in blood and shreds. Silent or twitching, imprisoned or forbidden—only when the body crosses a border does it become truly, differently embodied.
The exhibition takes “the human” as its central theme, reflecting on what it means to exist as a person in this world. It focuses on the intricate, interwoven relationships between self and self, self and others, and self and both physical and virtual environments. The exhibition title borrows from the existential concept of Dasein, or “being there,” to explore humanity’s presence in the here and now. Through this lens, the exhibition opens up multi-layered philosophical inquiries into the human condition and the nature of existence. In extending this curatorial theme, Jut Art Museum collaborates with Giloo, inviting participating artists to curate a selection of eight remarkable films that center on the question of being human. These works return to the essence of what it means to live as a person—interpreting, reflecting, and questioning the many dimensions of humanity, and inviting audiences to contemplate the meaning and possibilities of being born human.
What makes a classic a classic is its ability to awaken a sense of longing for times past. Timeless and ever-enchanting, classics are meant to be savored, again and again.
“We are all in one fight, and our freedom is all the same freedom.” — Far From the Tree Poverty, disability, illness, gender, race, or non-normative forms of labor—at first glance, our lives and bodies may seem worlds apart. But such differences can make us forget what we share as human beings: love and desire, dignity and pain, vulnerability and the need to be seen. Let’s watch a film. No one is an island. Somewhere in the story, you’ll find the corner that connects to your own.
Even in the face of noble causes, pure love demands its due. There may be no childhood promises of marriage, nor grand vows to take you to the moon — But here lies a love that is the purest, most romantic kind: A little mad, a little stubborn, but always about love. Through five timeless classics, this curated playlist explores stories of pure love forged in turbulent times — How the weight of history shaped love's innocence, and its inevitable heartbreak.
There are no absolutes in this world—not when it comes to life, nor to the environment. May we all be granted a beautiful pair of eyes—to see different truths, to reflect on different values. Like a kaleidoscope, the heart holds many shifting facets. And in that ever-changing view, we learn to see more fully.
The erotic classic The Lover boldly pushes the boundaries of sensual cinema. Freaks blends horror and surrealism into a provocative spectacle of visual violence and beauty. In In the Realm of the Senses, an unforgettable depiction of suffocating, all-consuming desire secures its place in film history. In Oasis, two marginalized individuals find a love purer than anything the world around them can understand. And in Merry Christmas, Mr. Lawrence, Ryuichi Sakamoto and David Bowie share the screen—and a legendary, forbidden kiss. These films dare to confront desire, taboo, and tenderness—through shock, poetry, and unforgettable images.
I long to see the consciousness behind the work—where bold expression stands in contrast with vulnerability, and the extraordinary quietly harbors an everyday kind of ordinariness. Suddenly, that once-sacred figure takes on depth again. We’re given a chance to glimpse what they’ve left behind, their uncertainties—those very elements that make them human—slowly surfacing from behind the art.