Her

First-hand accounts from inside Diana, Princess of Wales' household, including from butler Paul Burrell, bodyguard Ken Wharfe, private secretary Patrick Jephson and favourite driver and bodyguard Colin Tebbutt, provide intimate details of life at Kensington Palace for Diana in the final three months of her life.

Contributors include her former press secretary, Patrick Jephson, Royal Correspondent and confidante Jenni Bond and astrologer and close friend Deborah Frank.

During a Thanksgiving Day party we make aquaintance with a numerous and problematic family. The leading characters are three sisters: Lee, the woman of Frederick, an old misanthrope painter; Holly, who dreams of becoming a writer, or an actress, or who knows who…; Hannah, famous actress, beautiful, intelligent, good mother, good wife, good sister, in short perfect, the pivot of the family. The balance begins to break up when Hannah's husband, Elliot, falls in love with Lee, who leaves Frederick. Holly goes through a deep crisis and meets Mickey, the former husband of Hannah, a hipocondriac TV producer. The affairs evolve and at the last Thanksgiving …

Cast Julie CHRISTIE, Gordon PINSENT, Olympia DUKAKIS, Michael MURPHY, Wendy CREWSON, Kristen THOMSON
A man coping with the institutionalization of his wife because of Alzheimer's disease faces an epiphany when she transfers her affections to another man, Aubrey, a wheel chair-bound mute who also is a patient at the nursing home.

Secret agent April Flower and her earnest if hapless sidekick Basil time-travel from London in 1969 to 2019 in pursuit of their nemesis, the evil Dr. Mean. The beautiful but evil Dr. Mean intends to take over the world by means of a love potion that causes all who take it to immediately plunge into total sexual promiscuity.

Director: Kim Soyoung
I’ll Be Seeing Her: Images of Women in Korean Cinema is the latest work of Kim Soyoung, a film scholar and filmmaker, commissioned by the Ministry of Gender Equality to be permanently exhibited in the Women’s History Exhibition Hall collecting vast material of Korean film history from the very early years through the 1950s to the present, the film rearranges images and excerpts of Korean films using key words to reappropriate ‘the women on the silver screen’ in a female perspective. A study on women’s images in Korean films and women’s perspective of Korean film history, the film is rich with interviews of ‘the women off the silver screen,’ that is, women spectators and women film professionals, who gathered in Pusan, Jinju, and Seoul. They have visions of cinema being a ‘women’s field’ in the digital age. WFFIS intends to extend, share, and reflect on the ecstatic moments when women on and off the silver screen encounter one another in a space beyond time at this special screening. (Kwon Eun-sun)