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The section that selects the queer films of specific theme, including directors, actors, nationalities, eras, etc., and introduce them in the form of special or retrospective exhibiting sections. 

SIPFF introduces the queer films of diverse themes, including directors, actors, nationalities, eras, etc., in the form of special or retrospective exhibiting sections. In 2019, SIPFF published The History of Korean Queer Films, and screened significant queer films of each era; in 2020, it published The History of Korean Transgender Films and provided opportunities of contemplating the stereotypical images of transgendered people in Korean queer films. This year’s Special Pride Section will publish The History of Korean Lesbian Films, and offer chances to discuss diverse perspectives and issues regarding Korean lesbian films. There will be 10 films in this year’s Special Pride Section: from classics like A Court Lady (1972) by Sangok Kim and A Man With Color (1985) by Sung-su Kim, to Lovers’ Concerto (2002) by Han Lee, Grape Candy (2011) by Hee-jung Kim, My Dear Girl, Jin-young (2012) by Seong-eun Lee, and The Truth Beneath (2015) by Kyoung-mi Lee, the lesbian films from diverse eras and with diverse genres will be screened. A Couth Lady, which is difficult for audience to watch in theater, and Lovers’ Concerto, which has fancy castmates including Tae-hyun Cha, Eun-ju Lee, Ye-jin Son, Geun-young Moon, Seung-hwan Shin, etc., are recommended films by SIPFF’s programmers. Furthermore, audiences can watch worldly popular films, The Handmaiden (2016) by Chan-wook Park, After My Death (2017) by Ui-seok Kim, and Take Me Home (2020) by Jay Han, which was the center of attention in Seoul International Women’s Film Festival, JIFF, Gwangju Women’s Film Festival, for describing new form of family through a lesbian couple. The one and only documentary film of this section, The Time of Our Lives (2009) by Ji-yu Hong and Young-hee Han, will also be screened in this section. As such, the attempt of Special Pride Section, which has enhanced every year, not only provides changes for re-examining Korean queer films from diverse perspectives, but also helps people involve in meaningful social movements in real life. The special exhibition, along with the published book related to Special Pride Section will offer chances to read this year’s films more profoundly.