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All the Time in the World

Suzanne CROCKER

전체관람가 General 84min Canada 2014

TV Sun, 28th August 13:30

Arthouse MOMO 1st Hall Tue, 23th August 10:30

Namsangol Hanok Village Sat, 27th August 20:00

Director

Suzanne CROCKER

Suzanne Crocker switched careers from rural family physician to filmmaker in 2009. Her award winning short film Time Lines (2010) screened at film festivals in Canada, the US and Europe, and was selected for a National Film Board Filmmakers Assistance Grant. Time Lines was praised for its visual storytelling and its ability to evoke emotion. All the Time in the World represents Suzanne Crocker’s feature film directing debut.

Synopsis

Living in a small cabin with no road access, no electricity, no running water, no internet, and not a single watch or clock: A family of five makes the decision to live remotely in the Yukon wilderness. Filmed off grid without a traditional crew, All the Time in the World is a deeply personal documentary that explores the theme of disconnecting from our hectic and technology laden lives in order to reconnect with each other, ourselves and our natural environment.

Review

All the Time in the World begins with the sound of a clock and voices of children: mom always says that she wants to bake cookies for us, but she never did. Our family members pass each other by, and have never actually been ‘together’. Our mother and father say that they work for our family, but they don’t even have time to look at us. When dad said we’re going on a trip, no one actually thought we would. The documentary begins with a narra- tion from a particular family, but tells the story of everyone living in a busy city. As we are chased and dominated by the clock, we often say, “I want to leave” or “I want a different kind of life”. All the Time in the World shows a family who actually takes an action to leave the civilization behind into the wild. The video shot by the family is private but universal at the same time. The parents with three daughters – a ten-year-old, an eight-year-old, and a four-year-old go to the Yukon forest, where there is no road, electricity, internet, or clock, and they build a log house, find and cook food to eat, and live together. It does not romanticize the life in the wild. They are constantly exposed to the dangers of the forest; they have to bring a pile of grocery and store it, and the weather is so cold that icicles hang down their faces. While filming the life of the family, the documentary focuses on each member’s facial expressions and feelings as well as the various looks of nature. While watching the process of the family and nature getting accustomed to each other and trying to find a way to coexist, the audience feels whether they can live like this family does. Though it is a documentary, it feels like a fantasy more than any other films. (LEE Seung Min)

Festivals

  • Korean Premiere / IDFA 2015 Docs for Sale

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