Kommende visningerseptember

The day she returns

Hong sang-soo
2026
84 min.
Sydkorea
DCP
koreansk tale / engelske undertekster

Traditionen tro viser Tusind sole det seneste værk i den uendelige række af film fra den hyperproduktive sydkoreanske instruktør Hong Sang-soo. Over et sort-hvidt døgn følger han en midaldrende kvinde, der står på randen af et filmisk (livs)comeback.

The Day She Returns følger den tidligere stjerneskuespiller Bae Jeongsu, der netop har gjort comeback i en ny sydkoreansk independent film. I forbindelse med filmens lancering interviewes hun af tre unge kvindelige journalister. Her fortæller hun om sit liv og sit virke – både om det ægteskab, der satte en stopper for hendes succesfulde karriere, og om den nylige skilsmisse, som gav plads til, at hun kunne genoptage den. Samtalerne skifter i tone og går hurtigt fra det professionelle til det personlige, fra det hverdagsagslige til det eksistentielle. Undervejs vil den midaldrende skuespiller åh så gerne dele en fadøl med de unge pressefolk, selvom hun egentlig ikke drikker længere, ligesom hun afslutter alle tre interviews med at give de yngre kvinder et essentielt livsråd med på vejen.

Efterfølgende drager vi med Bae Jeongsu til en improvisationstime. Her får hun sammen med en anden skuespiller til opgave at gengive netop de interviews, hun tidligere på dagen har givet. Men da hun skal gengive samtalerne, taber hun tråden hver gang hun når til det, der forekommer allervigtigst.

The Day She Returns er Hong Sang-soos 34. spillefilm. Filmen fik premiere i februar på årets Berlin Film Festival. Og i august måned havde sydkoreanerens 35. spillefilm såmænd verdenspremiere under filmfestivalen i Locarno. Der er altså intet der tyder på, at den sydkoreanske filmskaber er igang med at nedjustere kadencen.

I klassisk Hong Sang-soo-stil består filmen nærmest udelukkende af beskedne samtaler, der forekommer meget små og kæmpestore på samme tid. Og ligesom mange af hans tidligere film, er The Day She Returns en lavmælt, men alligevel kompleks refleksion over filmmediet selv. Igennem Bae Jeongsus dag og samtaler udforskes det nemlig, hvordan kunsten kan imitere et levet liv. Og omvendt. Filmens eneste egentlige anomali efter Hong Sang-soo-standarder er den beskedne mængde alkohol, der serveres undervejs.

Præsenteres i samarbejde med Empire Bio.
Kopi: Finecut

“The World Doesn’t Know Shinji Somai”
Ryusuke Hamaguchi, 2023

“The world doesn’t know Shinji Somai”. That was the catchphrase coming with the book Yomigaeru Somai Shinji (Shinji Somai Renaissance) published in 2011, 10 years after the director’s death. Now that 10 years has passed again, does the world finally met Shinji Somai? Yes and no. Of course, several retrospectives of his films have been organized in festivals, where he found a new audience. He is still far from achieving the widespread recognition that all Somai lovers feel is his due. This is a thing that I’ve felt precisely while speaking with those involved in cinema around the world. The world still doesn’t know Shinji Somai.

Since his debut in 1980, Shinji Somai is held in the highest esteem by Japanese film fans, just as it is, let's face it, impossible for anyone making cinema in Japan today not to have Somai in mind. Of course, it is easy to imagine the difficulty of mulling over the atmosphere of early Somai films if one is not familiar with the specific context of Japanese cinema in the 1980s. At a time when, with the dismantling of the major studio production system many films were being made by parasitising other industries such as television or music Somai launched his filmography by making "idol films" relying on the popularity of the teenage girls who played the leading roles (which is reminiscent of Hou Hsiao Hsien's debut at the same period).

We often speak of the "sequence shot" or the "long shot" to characterise the stylistic feature he acquired during this period. However, nothing could be more misleading than to regard this as his 'auteurism'. Simply comparing Somai Shinji's long takes with those of Welles, Tarkovsky, Angelopoulos and others will only make his technical coarseness stand out. This could be understood as a reflection of the poor production conditions of Japanese cinema in the 1980s. But no. What he was really aiming for was first and foremost the 'sparkle of life' of the actors. In his work, the long shot allows these young women, seen as "idols", to burst through the frame from within, the better to escape. This inspires the crew, who grew up in studios, to break through the limited circumstances of the time. This 'long shot', which is a by-product of his deep trust in the vitality of the actors' and crew's bodies, is not just a directorial technique, but rather a reflection of his 'attitude to life'.

Moving (selected in Cannes Film Festival's Un Certain Regard section in 1993) is, amongst all of Somai’s films, the one which first created a contact between international audience and his entire oeuvre. However, the film did not simply end up unawarded, nor did it receive the same critical favours as Takeshi Kitano's Sonatine, which was screened in the same year and in the same section. Here again, the world and Somai replayed their failed encounter. Watching the film again today, it seems unbelievable. Especially because of the presence of the lead actress, Tomoko Tabata. Her ability to move, the expression on her face, her eyes - everything is incredible; but it is her voice that I find most captivating. This voice, which alone manages to express her whole being, which plays with distance and time as if it were breaking down all boundaries, to touch and shake the adults who play the other characters, right up to the audience. As a filmmaker, it's hard to believe that such a being could exist in a film. The images are like so much evidence of her vital energy. We are led to reflect on the fact that the life force residing there may also be in us, and we may not be making full use of it. Life, here reinstilled.

There can be no doubt that Moving is still the best gateway for "the World" and Shinji Somai to meet. You don't need to know anything about the history of Japanese cinema to understand this film, which marks a period of the highest refinement in his career, as well as having been brought to life through Tomoko Tabata’s character. But if, thanks to this film, viewers ever become interested in Shinji Somai, I would like them to see his twelve other films. Because in each of them, you will see bodies and hear voices that surprise you. Again and again. There's nothing to be surprised about. We have not yet met Somai Shinji enough.

We still don't know Somai!
Essay udgivet i pressebooklet i forbindelse med den nyrestaurede udgave af Moving.

18. september
19.30
Empire Bio
(Guldbergsgade 29F, 2200 København N)

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The gold diggers

Sally potter
1983
89 min.
England
DCP
Engelsk tale

Når man ser Sally Potters debutfilm, The Gold Diggers (1983), giver det ikke bare mening; det fylder også beskueren med eufori, at holdet bag kameraet udelukkende bestod af nogle af de dygtigste kvinder i filmbranchen, heriblandt fotografen Barbara Mangolte og komponisten Lindsay Cooper. Da filmen i sin tid udkom, vækkede den dog mere forargelse end respekt hos anmeldere, der kaldte historien for uforståelig og oplevelsen af at se den torturagtig.

I The Gold Diggers tager Potter, som skrev manuskriptet med sin samarbejdspartner Rose English (der også stod for filmens scenografi), sine to hovedkarakterer Celeste (Colette Lafont) og Ruby (Julie Christie) på en labyrintisk togt på jagt efter meningen mellem kvinder, guld og værdi. Det er kapitalismens og patriarkatets historie oplevet på ny som en feberdrøm, fremmanet af to nysgerrige kvinder, der taler og danser, læser og leder efter den nydelse, de mener at være blevet frataget. Som karakteren Celeste, der arbejder i en bank, på et tidspunkt siger; “I mit arbejde flyder pengene gennem min krop. Men hver dag får jeg mindre, end jeg giver.”

Præsenteres i samarbejde med Park Bio.
Kopi: British Film Institute

“The World Doesn’t Know Shinji Somai”
Ryusuke Hamaguchi, 2023

“The world doesn’t know Shinji Somai”. That was the catchphrase coming with the book Yomigaeru Somai Shinji (Shinji Somai Renaissance) published in 2011, 10 years after the director’s death. Now that 10 years has passed again, does the world finally met Shinji Somai? Yes and no. Of course, several retrospectives of his films have been organized in festivals, where he found a new audience. He is still far from achieving the widespread recognition that all Somai lovers feel is his due. This is a thing that I’ve felt precisely while speaking with those involved in cinema around the world. The world still doesn’t know Shinji Somai.

Since his debut in 1980, Shinji Somai is held in the highest esteem by Japanese film fans, just as it is, let's face it, impossible for anyone making cinema in Japan today not to have Somai in mind. Of course, it is easy to imagine the difficulty of mulling over the atmosphere of early Somai films if one is not familiar with the specific context of Japanese cinema in the 1980s. At a time when, with the dismantling of the major studio production system many films were being made by parasitising other industries such as television or music Somai launched his filmography by making "idol films" relying on the popularity of the teenage girls who played the leading roles (which is reminiscent of Hou Hsiao Hsien's debut at the same period).

We often speak of the "sequence shot" or the "long shot" to characterise the stylistic feature he acquired during this period. However, nothing could be more misleading than to regard this as his 'auteurism'. Simply comparing Somai Shinji's long takes with those of Welles, Tarkovsky, Angelopoulos and others will only make his technical coarseness stand out. This could be understood as a reflection of the poor production conditions of Japanese cinema in the 1980s. But no. What he was really aiming for was first and foremost the 'sparkle of life' of the actors. In his work, the long shot allows these young women, seen as "idols", to burst through the frame from within, the better to escape. This inspires the crew, who grew up in studios, to break through the limited circumstances of the time. This 'long shot', which is a by-product of his deep trust in the vitality of the actors' and crew's bodies, is not just a directorial technique, but rather a reflection of his 'attitude to life'.

Moving (selected in Cannes Film Festival's Un Certain Regard section in 1993) is, amongst all of Somai’s films, the one which first created a contact between international audience and his entire oeuvre. However, the film did not simply end up unawarded, nor did it receive the same critical favours as Takeshi Kitano's Sonatine, which was screened in the same year and in the same section. Here again, the world and Somai replayed their failed encounter. Watching the film again today, it seems unbelievable. Especially because of the presence of the lead actress, Tomoko Tabata. Her ability to move, the expression on her face, her eyes - everything is incredible; but it is her voice that I find most captivating. This voice, which alone manages to express her whole being, which plays with distance and time as if it were breaking down all boundaries, to touch and shake the adults who play the other characters, right up to the audience. As a filmmaker, it's hard to believe that such a being could exist in a film. The images are like so much evidence of her vital energy. We are led to reflect on the fact that the life force residing there may also be in us, and we may not be making full use of it. Life, here reinstilled.

There can be no doubt that Moving is still the best gateway for "the World" and Shinji Somai to meet. You don't need to know anything about the history of Japanese cinema to understand this film, which marks a period of the highest refinement in his career, as well as having been brought to life through Tomoko Tabata’s character. But if, thanks to this film, viewers ever become interested in Shinji Somai, I would like them to see his twelve other films. Because in each of them, you will see bodies and hear voices that surprise you. Again and again. There's nothing to be surprised about. We have not yet met Somai Shinji enough.

We still don't know Somai!
Essay udgivet i pressebooklet i forbindelse med den nyrestaurede udgave af Moving.

24. september
17.15
Park Bio
(Østerbrogade 79, 2100 København Ø)

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