Korean film 'Chihwaseon' (2002), which won Im Kwon–taek the best director award at Cannes and stands as his most fiercely personal film to date, will be screened at InKo Centre on Friday, June 22, 2007, at 7 p.m.

Although entry is free, those interested are requested to register in advance for the show and registration will be on a first-come, first-served basis.

Music, Movies and Mamta Are you ready: Image makeover Red One for Achchamundu! Achchamundu! A day-trip to Dakshin Chitra ஒரு படம், இரு நாயகர்கள் யோகி: ஆங்கிலப் படத்தின் காப்பியா? சிம்புவின் டாலரும் தேவையில்லாத வதந்தியும்

Film studies centres/ institutes can book the audio-visual room for special student screenings of up to 20 students at a time.

Please call 044- 24361224 to register or to book the audio-visual room for special screenings.

Synopsis of Chihwaseon: The subject of the film is, Jang Seung-Ub, a 19th-century painter known by the pseudonym Ohwon, who lived, in director Im's rendition, like a vagabond rock star. Jang, born a commoner and discovered as a boy by a sympathetic aristocrat, dazzled and scandalised his country's politically fragmented ruling class and spent his long career in and out of favour, and in and out of trouble.

His work, undertaken at a time when the country was struggling to retain its identity in the shadow of its more powerful, imperially-minded neighbours, Japan and China, is understood as an expression of the strength and uniqueness of Korean culture. During his apprenticeship, Ohwon dutifully studied Chinese models, but the source of his vivid and intricate compositions is the unique beauty of his native land.

In Chihwaseon, a painter, drunk and turn-of-the-century cultural hero, Jang Seung-up (Choi Min-sik), repeatedly rejects - in the interest of pursuing his real art - lucrative offers to illustrate erotic books. While on one level this breathtaking period film unfolds as a conventional story of self-destructive genius, it comes with a vision of an artist at the height of his reflective powers and an exploration of how an artist's personal obsessions can feed the self-image of an entire nation.

Director Im's own aesthetic command is evident in the movie's wealth of beautiful, perfectly framed images of nature - shots so full of passion and perception that they could almost be paintings themselves.