The lineup for the 2015 Carnegie Mellon University International Film Festival was announced this afternoon, and the South Korean movie Ten Minutes (10 분) and the Chinese I Am Here (我就是我) are among the films that comprise it. 10 Minutes will play on April 8 at 7:00 pm. A summary from the Busan International Film Festival, where the movie premiered in 2013:
A young man preparing for an exam to work for a broadcasting company starts to work as an intern and a junior government employee. He is only there to make some money before finding a real job, but when his boss tells him that he wants to hire him full-time, he is tempted. After going through the interview and getting congratulated from others in the office, he is shocked that the full-time position is in fact given to someone else. An older co-worker tells him that it was a set-up, and the young man decides to fight the decision. The fight for justice is not as easy as his co-worker says. The film cruelly looks on as the man stoops lower and lower, from an intern loved by both co-workers and managers, to a disgruntled employee. He is at a crossroads. Should he stay a good, social employee, or start anew as a straggler?And the Toronto International Film Festival profiles I Am Here, which plays on March 27 at 7:15 pm:
Every week, millions of viewers tune in to China's most popular singing competition, Super Boy. Tens of thousands of aspiring male singers audition every year for this prestigious talent show, but only ten make it into the months-long competition. Fan Lixin's documentary I Am Here immerses us in the finalists' gruelling, adrenalizing experience, even as it raises provocative questions about the social context of such a phenomenon.The festival will run from March 19 through 28, and April 8 through 11. Ticketing information and a complete schedule is available on the festival's website.
The world of these young performers is a glossy fantasy, all-consuming and almost too good to be true. Overnight they've been elevated to demigod status, and are now recognized everywhere they go by herds of screaming teenagers. This fame comes at the cost of their identity; vocal coaches, dance teachers, and tyrannical producers exploit easily digestible aspects of the young men's personalities and backgrounds, grooming them in the images of archetypes that audiences can root for. But in a scenario where there can be only one winner, the boys band together, attaining a mutual harmony that extends beyond the singing contest.
