Synopsis Falsely accused as the murderer of my own husband... Oh, the cruel machinations of fate! A female teacher (Lee Yong-ae) gives shelter to an escaped convict, but her husband, misconstruing her intentions, reacts violently and accidentally stabs himself to death in the process. The teacher is charged with her husband's murder, but fortunately the prosecutor on the case is a former student of hers, of whom she had taken painstaking care when she was working at an elementary school. Remembering her kindness to him, the prosecutor uncovers her innocence in court, and she is acquitted of the crime. Notes A silent movie that allows us to examine the narrator-accompanied method of 16mm films (Chung Jong-wha) A Public Prosecutor and a Teacher is familiar to us for the performance of Shin Chool, Korea's last silent movie narrator (known as byeonsain Korean). Numerous critics have recommended the film, praising it as a silent movie that allows us to examine the narrator-accompanied method of 16mm films (Chung Jong-wha), the work of Korea's last silent movie narrator (Kim Hong-joon), a movie that reflects the public's consciousness and has great historical value (Lee Seung-hun), and the archetypal new-school film (Chung Sung-il). As evidenced by such commentary, A Public Prosecutor and a Teacherenjoys greater recognition for its historical value as the only surviving silent movie in Korea than for its artistic or technical aspects. What is ironic is the fact that this recognition derivesfrom a production and screening method that fell behind the times, as sound films (or talkies) had already become the norm when the movie was first made. Its inclusion in the list is therefore based on its historical, social context rather than on the film itself. Afterword - Narrated by Shin Chool, who is known as Korea's last silent film narrator, A Public Prosecutor and a Teacherhas been screened at several film festivals since the latter half of the 1990s.
Didier Konings’ simmering mediaeval horror Witte Wieven explores the confluence of religion and patriarchy in an excessively puritanical Dutch village. Blamed by her community for being childless, Frieda immerses herself in prayer and ritual. When she returns unscathed from the forbidden forest surrounding the village, having evaded a lecherous butcher, she is condemned as an agent of the devil. Frieda, however, finds new faith in the dark powers that inhabit the woods.
Shot in a reduced colour palette at the edge of visibility, Konings’ gripping film constructs a convincing pre-modern society whose practices it elucidates with patience and attention. Although set in the Middle Ages, Witte Wieven displays an unmistakably contemporary spirit, crafting a feminist parable about women discovering new ways of understanding their lives and the world.
The film is inspired by the true-to-life story of the discovery of the long-lost “Opus 28” manuscript from Norwegian composer Johan Halvorsen, originally performed in 1909 by Canadian violinist Kathleen Parlow, to whom the piece was dedicated.
Campbell portrays a student who seeks to complete her thesis on Parlow by organizing a public performance of “Opus 28” from Toronto to Oslo. The cast includes Dueñas, Melanie Scheiner, Eve Duranceau, Maxim Gaudette, Rosa-Johan Uddoh, and Eileen Davies.
Debt-ridden pacifist Richard Fyre is propositioned to return to his abandoned mercenary ways by flamboyant zealot, Priest, to eliminate his international competition in exchange for a clean slate.