Showing posts with label women. Show all posts
Showing posts with label women. Show all posts

2009-04-16

Life Imitates Art in Gay Mockumentary


Hollywood stuntwoman-turned-director Alison Reid /Lee Hyo-won photo

Imagine a world where children are fatherless in the procreative process. In the mockumentary ``The Baby Formula,’’ a lesbian couple succeeds in conceiving children of its own genetic mix.

The film’s notion of creating fake sperms from a woman’s skin particle, however, isn’t completely outlandish. ``Baby’’ is the classic mix of fiction and reality.

``The science is actually accurate and was successful in tests with mice. The (actresses’) pregnancy was real, too,’’ Alison Reid, the veteran Hollywood stuntwoman-turned-director, told The Korea Times in a recent interview. The Canadian filmmaker has been touring the festival circuit with her feature film debut, and was in town for the 11th International Women’s Film Festival in Seoul (IWFFIS).

``Until recently, it has been impossible for gay couples to conceive of the idea of being able to combine their genetics and have their own biological children. That has always struck me as sad. When I read an article about some science that made it possible to create offspring from two female mice, it resonated with me, and inspired me to make this film,’’ Reid said in a statement.

The director spoke with scientists all over the world involved in the research. ``For the purposes of the story, we have assumed that the science is further along than it is in real life, however the scientific explanations are accurate. This scientific backdrop becomes a pallet for a story that is ultimately about family, and the common ground facing us all despite our diversity,’’ she said.

``Succubus,’’ the short prequel to ``Baby’’ that was screened at last year’s IWFFIS, traced the efforts of the same two characters, Athena and Lileth, to have their own biological child. Interestingly enough, both actresses became pregnant _ though happily married to men in real life, they conceived children in the traditional way. The film assumes that such lesbian mothers can only have daughters, and both actresses gave birth to the baby girls that appear in the movie.

``Life was imitating art,’’ said the director. ``We were able to take advantage of the pregnancy and show the 10-month period and the real babies at the end. When we were rehearsing the scene where Athena’s water breaks, Angela Vint (who plays Athena) actually had her water break,’’ she said.

The science may be stranger than fiction, but the movie’s utter believability shines through. Effervescent characters drawn in viewers into the story, which has no male bashing, ``feminazism.’’ In ``Baby,’’ two geek stem cell specialists claim that their breakthrough scientific experiment is not trying to ``make men obsolete’’ but rather simply render them ``unnecessary.’’ One day, women may become unnecessary in procreation, they add.

``The film is done in a non-threatening way so people wouldn’t be putt off by it,’’ said Reid. The delightful, ticklishly funny mockumentary drew packed screenings in Seoul, and one middle-aged male audience member found the story pleasantly surprising despite the fact that he came from ``a different generation.’’

The warm reception is great, said Reid, but she was actually hoping for a little negativity. ``Right wing protesters would be good PR for the film,’’ she said, smiling. The director hopes to start a TV series starring the same actors.

Will her next feature film be another dramedy? ``No, it won’t be as funny,’’ she said. But it will involve a love triangle set inside, rather appropriately for the stunt speicialist, ``a crazy, extreme stunt world.’’

Reid coordinated stunt sequences in major Hollywood films such as ``Blindness’’ and doubled for Monica Bellucci in ``Shoot ‘Em Up.’’ She said she vigorously pursued the ``excitement and the adrenaline’’ ever since doing her first stunt when she was 17. Getting caught in explosions and car crash sequences ``had its moments,’’ including neck and knee injuries and burns, but provided insight into the world of directing.

For more information about ``Baby,’’ visit thebabyformulamovie.com.

The IWFFIS comes to a close today. The closing ceremony at 7 p.m. at Artreon in Sinchon will feature the award-winning films of the Asian Short Film & Video Competition. Visit http://www.wffis.or.kr/.

2009-04-06

See the World Through Women’s Eyes

The world’s largest women’s film event kicks off Thursday, featuring over 100 films from 23 countries until April 16. The 11th edition of the International Women’s Film Festival in Seoul (IWFFIS) invites people of all ages and gender orientations to reexamine the world through female perspectives.

``Half-Life’’ (U.S.A.) will open the festival Thursday evening at Artreon in Sinchon, northern Seoul. Recently featured at the Sundance Film Festival, it is about a sister and brother’s reaction to their father’s desertion and the presence of their mother’s new, very young boyfriend. Asian American director Jennifer Phang will take part in the festival as a jury member in the competition section.

Moviegoers can also look forward to the world premiere of ``The Time of Our Lives,’’ which was made with funds from last year’s Documentary Ock Rang Film Award. This film documents the 14-day election campaign of Choi Hyun-sook, the first openly lesbian candidate who ran for the National Assembly.

There are films featuring youthful effeverence, such as ``The Cherry Road – Blossoming’’ (Japan) and ``Rain’’ (Bahamas), which was featured in the 2008 Toronto International Film Festival. ``Rain's'' director, Maria Govan, will visit Korea for the occasion.

The festival also explores aging. One recommended piece is the documentary ``Maverick Mother’’ (Australia). Sick of waiting for the perfect partner, a 39-year-old filmmaker decides to become a single mom through artificial insemination. While waiting for the procedure, however, she becomes impregnated after dating a Swiss man. The director, Janet Merewether, will visit Seoul with her son.

Other special guests visiting from afar include Alison Reid, a Hollywood stuntwoman who directed ``The Baby Formula,’’ which will be screened in the Queer Rainbow section. The festival programmer recommends this ``funny, fake sci-fi documentary’’ about a lesbian couple that conceives their own biological child through groundbreaking scientific technology.

The winners of the Asian Short Film & Video Competition will close the festival. This year, more than 200 films from 12 countries were submitted and 18 finalists will compete. Among the contenders is a piece directed by Song Fang, the actress who starred opposite Juliette Binoche in Hou Hsiau-hsien’s ``The Red Balloon.’’

The festival also spotlights marginalized women. In addition to the film section Women’s Labor and Poverty, a forum on the subject will take place April 14 at Ewha Womans University. Another section, Media Workshop for Women Migrants, features eight pieces by foreign women living in Korea.

A day care center will be open for mothers throughout the festival. Visit http://www.wffis.or.kr/ (Korean and English) or call (02) 583-3098~9 for more information.

2009-02-15

Sexuality in Joseon

Sexuality in Joseon
Jung Sung-hee; Garam: 312 pp., 13,000 won


The Joseon Kingdom (1310-1910) can be considered the Korean equivalent of the Victorian Age, when strict moral codes dictated society. ``Sexuality in Joseon’’ by historian Jung Sung-hee explores the hushed sexuality of the era.

The book details the prevalent Joseon (and thus Confucian) attitudes, customs and laws concerning marriage, chastity, virginity, adultery and prostitution, among other topics.

Yet interestingly, such a big sex scandal as that of former U.S. President Bill Clinton and Monica Lewinsky, would have been nothing. Had Clinton been a Joseon man, he could have had Lewinsky as a concubine in a society where male polygamy was not only accepted but also omnipresent. This sharply contrasts with Korea today, where extramarital affairs are outlawed.

It is a well-known fact that Joseon women were subject to harsh rules of chastity and conduct, both before and after marriage. The author points out that in pre-Joseon times, daughters inherited equally as their brothers. But in the Joseon era, as women lost economic power, they also lost rights regarding marriage and other aspects of life.

Jung argues that sexuality was a means of political control. While she does not reveal anything groundbreaking in suggesting the all-too familiar correlation between sex and power, the book is nevertheless an interesting and well-organized account of Joseon sexuality.