In the Sichuan mountains, a bird hunter recounts regional myths about the conflict between humans and gods that unfolds through their respective feigning of animality and humanity. These myths function as the subversive lens through which the film examines state imperialism’s impact on this contested territory’s cultural and economic practices, such as contriving bird gatherings for tourists to earn a living and being forced to make traditional flutes with scrap plastic instead of eagle bone. The film discerns in these tales the potential of shanzhai (counterfeit) to destabilise the power imbalance between ethnic minorities and the state.

In the Sichuan mountains, a bird hunter recounts regional myths about the conflict between humans and gods that unfolds through their respective feigning of animality and humanity. These myths function as the subversive lens through which the film examines state imperialism’s impact on this contested territory’s cultural and economic practices, such as contriving bird gatherings for tourists to earn a living and being forced to make traditional flutes with scrap plastic instead of eagle bone. The film discerns in these tales the potential of shanzhai (counterfeit) to destabilise the power imbalance between ethnic minorities and the state.

该剧讲述女主角洪珠时隔10年和前男友兼初恋的俊昊再次相遇后的浪漫喜剧。 　　由《又是吴海英》《内在美》《恋慕》宋贤旭导演执导，预计10月开机，共8集。

该剧讲述女主角洪珠时隔10年和前男友兼初恋的俊昊再次相遇后的浪漫喜剧。 　　由《又是吴海英》《内在美》《恋慕》宋贤旭导演执导，预计10月开机，共8集。

她是美索布达米亚平原上的泥板，她是黄河远古文明用于交易的贝壳，她是小亚细亚吕底亚王国的黄金，她是意大利佛罗伦萨古老银行家族的徽章。她是欲望的载体，她是交换的工具，她是我们最熟悉的，却也是最陌生的——她，就是货币。 　　从46亿年前地球的诞生，到250万年前人类的起源，从5500年前隐藏的最早的货币历史，到250年前工业文明的到来，从67年前布雷顿森林会议的召开，到今日国际货币体系的再重建……货币从最初的起源、到局部的通行，从站在国际贸易的制高点，到今天成为世界经济浪潮中最棘手和根源性的课题。人们对货币从哪里来，和她又将如何影响世界产生了越来越多的困惑和期待——货币到底是什么？是金钱，是债券？是黄金，是钻石？是财富，是国家意志？是梦想，还是其他？——让我们共同穿越历史，带着对货币的渴望和疑问，一起进入货币的世界……

她是美索布达米亚平原上的泥板，她是黄河远古文明用于交易的贝壳，她是小亚细亚吕底亚王国的黄金，她是意大利佛罗伦萨古老银行家族的徽章。她是欲望的载体，她是交换的工具，她是我们最熟悉的，却也是最陌生的——她，就是货币。 　　从46亿年前地球的诞生，到250万年前人类的起源，从5500年前隐藏的最早的货币历史，到250年前工业文明的到来，从67年前布雷顿森林会议的召开，到今日国际货币体系的再重建……货币从最初的起源、到局部的通行，从站在国际贸易的制高点，到今天成为世界经济浪潮中最棘手和根源性的课题。人们对货币从哪里来，和她又将如何影响世界产生了越来越多的困惑和期待——货币到底是什么？是金钱，是债券？是黄金，是钻石？是财富，是国家意志？是梦想，还是其他？——让我们共同穿越历史，带着对货币的渴望和疑问，一起进入货币的世界……

김태리 브이로그 ’거기가 여기가 맞나‘ 일상의 묘한 면모를 드러냈다.

本片导演Joanna Priestley以实验创新的手法，将自己的形象绘制成动画。她向观众介绍了自己动画工作者的身份，并且愿意通过短片分享她的一些想法。她拥有卓著的绘画技巧，可以自由变换绘画风格，不过还是愿意面对面与观众交流，谈谈她所害怕的东西。比如害怕身处黑暗之中，她担心在那里会遇到怪物。她担心去做选择，毕竟站在十字路口纵使让人难以抉择。她还害怕变老，害怕体重超标，害怕世界发生战争而毁灭。 　　这是一个动画人，或者说一个普通女性内心世界的真实具现……

本片导演Joanna Priestley以实验创新的手法，将自己的形象绘制成动画。她向观众介绍了自己动画工作者的身份，并且愿意通过短片分享她的一些想法。她拥有卓著的绘画技巧，可以自由变换绘画风格，不过还是愿意面对面与观众交流，谈谈她所害怕的东西。比如害怕身处黑暗之中，她担心在那里会遇到怪物。她担心去做选择，毕竟站在十字路口纵使让人难以抉择。她还害怕变老，害怕体重超标，害怕世界发生战争而毁灭。 　　这是一个动画人，或者说一个普通女性内心世界的真实具现……

In the turmoil of the Jeju 4.3 incident, Jeju Island witnessed the loss of an estimated 25,000 to 30,000 lives, with women constituting a significant yet often unrecognized proportion of the victims. This documentary illuminates the once-shrouded experiences of these women, led by a dedicated Jeju 4.3 researcher. 　　The Jeju April 3 Incident resulted in numerous fatalities. According to an official survey initiated by the Korean government in the 2000s, the count is around 14,000, but estimates suggest the actual number could range from 25,000 to 30,000. The majority of fatalities occurred as government suppression forces sought to root out armed guerrillas (78.1% of total fatalities, according to official records), consequently causing a substantial number of civilian deaths. Among them, 80% were men, which may explain why the hardships confronted by women during the incident have not been thoroughly researched or brought to light. VOICES is a documentary reflecting on the harsh history that women have faced, focusing on testimonies from four older women who lived through those times. The testimonies of those are poignant. One miraculously escaped death from a massacre after being dragged to a beach, another was stabbed seven times by the suppression forces but survived feigning death, and another lost most of her family members as part of a fugitive family. Especially the accounts of sexual violence perpetrated against women are deeply infuriating. The interspersed animations serve to reenact the incidents while also helping manage the surging anger. (MOON Seok)