Yoon (Cha Seungwon) is the ultimate hard man, a battle-scarred cop who gets his man by any means necessary. But Yoon has a secret: she’s a woman trapped in a man’s body. Arch-satirist Jang Jin delivers all the thrills and ultraviolence we’ve come to expect from Korean cop/gangster movies, but with a very subversive twist. Tony Rayns
A daring formal experiment lies at the heart of this exploration of loss. Eugenie Jansen films her story—a young, half-Aboriginal girl copes with being transplanted from Australia to Belgium after her mother’s death—in 50 fps 3D and uses 360-degree pans to evoke time’s inexorable movement. The result is a boundary-pushing drama that is as affecting as it is bold in execution.
Love. Grief. Shock. Denial. Sleeplessness. Bubble bath. Masturbation. Pop Tart. Bootie. Rejection. Weeping. Awkward. Life’s a bitch.
It turns out that there’s a distinct difference between growing up and growing old.
Alex R. Johnson
A college dropout gets mixed up with a malicious con artist in Alex R. Johnson’s atmospheric Texas-set thriller. As it shifts perspectives and delivers shocks, it demonstrates dexterity fit for a barn dance and a sucker punch that would do any barroom brawler proud. “A cult following could be in the offing, and crime-movie aficionados will want to seek it out…”—Variety
When sentenced to home detention at her mother’s secluded abode, a twentysomething troublemaker (Morgana O’Reilly, spectacularly surly) suspects that there may be something housed within the walls more horrifying than her childhood photographs. "A marvelously entertaining combo of haunted-house thriller, murder mystery and domestic comedy… This near-flawless mix of laughs and scares is one of the genre-related highlights of the year."—Variety
A Lithuanian paramedic makes his own macabre fun (and some fast cash) by devising an office pool that allows his coworkers to bet on whether a patient will survive. As this dubious lark evolves into an Internet sensation, director Ignas Jonynas’ striking, inventive visuals plunge us into the morass enveloping our morally wounded anti-hero. Winner, Special Jury Prize, Warsaw 2013.
VIFF has screened many of Jung Yoonsuk’s short films, so the global success of his feature-length essay is no surprise to us. He starts from some notorious, nihilistic murders in the early 1990s, then opens out to examine the spaces between the death penalty and murder, between negligence and culpability, between dictatorship and freedom. A dynamic blow to Korea’s body politic! Tony Rayns