올가 코로트코의 영화 연구 – 다레잔 오미르바예프 미학의 계승과 폐쇄된 공간의 서사를 중심으로–

초록

This study examines the two features of the Kazakh director Olga Korotko in terms of what she inherited from her teacher Darezhan Omirbaev and what she changed, with space as the central problem. Korotko made short films while studying direction under Omirbaev and later studied at the New York Film Academy and the Zhurgenov National Academy of Arts. Her first feature, Bad Bad Winter (2018), screened in the ACID section at Cannes; her second, Crickets, It’s Your Turn (2024), screened in the Cineasti del Presente competition at Locarno. The difference between the two directors appears in how enclosure is produced. Omirbaev’s dormitory and sanatorium are already closed before the character enters. Korotko’s house and villa are open at first and close as the relations among the characters change. The study calls this process the narrative of enclosed space. Enclosure here does not mean a small place. It means a state in which the character remains inside a space without being able to set its rules, while the cost of leaving rises until the range of choice narrows. Three conditions are proposed: physical restriction; the social condition whereby the rules of the space are set by others; and the rising cost of exit. The sjuzhet of each film is reconstructed first, and five shots from each film, together with the official poster, are then analysed. The focus is not on the symbolism of the image but on where each shot stands in the narrative and how camera position and distance, bodily arrangement, gaze, sound, editing and production design make the power relations of the space visible at that point. In Bad Bad Winter, enclosure takes the form of a separation between ownership and control. Dinara owns the house but loses command of it once her former classmates come in. In Crickets, It’s Your Turn, Merey enters a space whose rules she cannot set. She is the only woman present whose company has not been paid for, and the language and conduct of the male group determine the rules of the villa. In both films the static camera, instead of explaining the characters’ psychology, makes the audience wait for the space to change. The study also addresses the gap between the director’s account and the finished film. Korotko has said that Merey wins by choosing beauty over the weapon, yet on screen Merey surrenders the gun she has obtained and is then killed. Rather than closing this gap with the director's account, the study treats it as its object. The two endings do not divide into hope and despair: in the first film the protagonist leaves the house but not her class conditions, and in the second she does not even leave the house. The study concludes that Korotko’s enclosed space is not a physical location but a condition produced by social relations. Class and gender are not separate subjects but two forms of one relation in which the choices of one party are limited by the power of another. Korotko inherits from Omirbaev a way of observing everyday life and space, and converts it into thriller temporality and the gaze of a female subject.

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