24th Busan International Film Festival Awards Announced
24th Busan International Film Festival Vision's Night Award Announcement
Asian Film Market 2019 Final Report: Successful Closing of the 14th Asian Film Market with the Great Attention
Award Winners of the 22nd Asian Project Market Announced
The Asian Film Market 2019 Opening Announced
The Asian Film Academy 2019 Starts their Journey
The 24th Busan International Film Festival Announces Performance Lineup for the Opening Ceremony
Asia Contents Awards 2019 Nominees Unveiled
Community BIFF 2019 Programs Announced
24th Busan International Film Festival Announces 6 Selections for the Open Cinema Section
The 24th Busan International Film Festival Launches a Thinking and Discussion Hub: Forum BIFF 2019
Forum BIFF 2019 founded by the Jiseok Film Institute will make a beginning at the 24th Busan International Film Festival. The Jiseok Film Institute, named after the former associate film festival director, the late Kim Jiseok, is established to encourage the practical and theoretical activities in communicating, networking and researching on Asian films. This year, three-day long forum will celebrate the Korean Cinema’s 100th anniversary and South and Southeast Asian Cinema forum will consider films in the region focusing on gender/sexuality. Furthermore, a wide range of forums on film technology, industry, and policy will be introduced. The Busan International Film Festival aims to build a hub for the extended, yet intensified thinking and discussion through Forum BIFF 2019. Korean Cinema 100 Years Forum ‘Acceptance and Practice of Early Cinema in East Asia’ forum will be co-organized by the Korean Film Archive in hopes of shedding light on the first 30 years of Korean Cinema in new perspective by comparing 3 Northeast Asian countries. ‘Cracks and Creation: Korean Cinema 100 Years’ forum will be held to reflect the various aspects of Korean Cinema over the past 100 years, especially to conceptualize the history in the views of rupture, collapse, and vacuum. Starting with a keynote speech by a renowned director in Korea, Lee Chang-dong, this forum will introspect a rapidly changing spectatorship, Korean cinema dominated by nationality, North Korean cinema and more. Gender/Sexuality as Esthetic Impetus in South and Southeast Asian Cinema Forum ‘Gender/Sexuality as Esthetic Impetus in South and Southeast Asian Cinema’ forum will be held to research the function of gender/sexuality as a resource of creation in South and Southeast Asian films. First, female auteurism established by women filmmakers under distinct regional characteristics of their homeland will be featured in accordance with a Special Program in Focus: ‘Gaze and Memories – Asia’s Leading Women Filmmakers.’ Second, an alternative queerness constructed by Southeast Asian queer cinema through a transnational media environment and native culture will be discussed. The keynote speech done by documentary director and women's studies scholar, Trinh T. Minh-ha will make the forum more meaningful. Film Technology, Industry and Policy Forum 1919-2019 Korean Film 100 Years founded by the Korean Film Council will open a policy forum to demand the establishment of National Museum of Film, Korea for celebrating a long tradition of Korean Cinema and prospecting its far future. The Federation of Korea Movie Workers’ Union will discuss how to build safer and healthier production environment for movie workers in an open forum regarding a research on the Safety Status of Korean Movie Industry. Cinematographers Guild of Korea hosts a forum on promoting the discovery of women power in technology and finding female cinematographers’ narratives which have long been hidden. A masterclass workshop about the coexistence of film and digital media will be co-organized by the Korean Film Council, Korea Film Directors Society, Korea Society of Cinematographers, and Korea Film Lighting Directors Society. A number of discussions on films in various forums will flourish throughout the festival period.
The 24th Busan International Film Festival Announces Nominees for New Currents Award
The 24th Busan International Film Festival finalized the selection of 14 films for the New Currents Award, the competition section for Asian films. 14 Competition Features of New Asian Talents The New Currents Award is given to two feature films selected from the first or second works of up-and-coming Asian filmmakers introduced in the New Currents section. This year, Leaving Las Vegas (1995) director Mike Figgis will head the jury while Karel Och, the artistic director of the Karlovy Vary International Film Festival, Samal Yeslyamova, the winner of the Best Actress Award at the Cannes Film Festival, Lee Sinje, the recipient of the New Talent Award at the Berlin International Film Festival, and Suh Youngjoo, the Chief Executive Officer of Finecut Co., Ltd. were appointed as jurors. Last year’s winners were Savage (2018) by director Cui Si Wei, recognized for its outstanding scenery and elaborate character composition and Clean up (2018) by Kwon Man-ki, which dealt with an intense subject matter revealed through a momentous mise-en-scène. As its name demonstrates, the New Currents section of the Busan International Film Festival has discovered new waves in Asian cinema. Representative directors from New Currents include Kore-eda Hirokazu; Jia Zhangke; Eric Khoo; Tan Chui Mui; Aditya Assarat; Park Jung-beum; Kim Uiseok; and Kim Bora. Furthermore, The Horse Thieves. Roads of Time (2019) by director Yerlan Nurmukhambetov who won the New Currents Award in 2015 and Moonlit Winter (2019) by director Lim Daehyung who was an awardee of the NETPAC Award of New Currents section in 2016 were selected for this year’s opening and closing film respectively. The New Currents Award will be bestowed to two films at the closing ceremony and each director will receive 30,000 USD. New Currents Nominees (*Titles in Alphabetical Order) #1 Title: Among the Hills Director: Mohammad Reza KEYVANFAR Country: Iran Premiere: World Premiere #2 Title: Boluomi Director: LAU Kek Huat, Vera CHEN Country: Taiwan Premiere: World Premiere #3 Title: Diapason Director: Hamed TEHRANI Country: Iran Premiere: World Premiere #4 Title: The Education Director: KIM Dukjoong Country: Korea Premiere: World Premiere #5 Title: Haifa Street Director: Mohanad HAYAL Country: Iraq, Qatar Premiere: World Premiere #6 Title: John Denver Trending Director: Arden Rod CONDEZ Country: Philippines Premiere: International Premiere #7 Title: Just Like That Director: Kislay KISLAY Country: India Premiere: World Premiere #8 Title: Lucky Monster Director: BONG Joon-young Country: Korea Premiere: World Premiere #9 Title: My Identity Director: SUZUKI Sae Country: Japan Premiere: World Premiere #10 Title: An Old Lady Director: LIM Sun-ae Country: Korea Premiere: World Premiere #11 Title: Over the Sea Director: SUN Aoqian Country: China Premiere: World Premiere #12 Title: A Road to Spring Director: LI Ji Country: China Premiere: World Premiere #13 Title: Rom Director: TRAN Thanh Huy Country: Vietnam Premiere: World Premiere #14 Title: Running to the Sky Director: Mirlan ABDYKALYKOV Country: Kyrgyzstan Premiere: World Premiere The 24th Busan International Film Festival will be held from Thursday, Oct 3 to Saturday, Oct 12 Asian Film Market 2019 will be held from October 5 to October 8, 2019
The 24th Busan International Film Festival Announces Kore-eda Hirokazu as Asian Filmmaker of the Year
The 24th Busan International Film Festival selects highly-acclaimed Japanese film director Kore-eda Hirokazu as the recipient of the Asian Filmmaker of the Year Award. The Asian Filmmaker of the Year is presented annually to a notable film professional or organization that has shown outstanding contributions to developing the Asian film industry and culture. Kore-eda Hirokazu won the Palme d'Or at the 2018 Cannes Film Festival for Shoplifter (2018), solidifying his position as a world-class film master. He has been loved and highly praised by the media, critics and viewers for his keen insight into the complexity of modern family relationships in his films: Nobody Knows (2004), Like Father, Like Son (2013), Our Little Sister (2015), and Shoplifter (2018). Kore-eda is known for his strong affection for the Busan International Film Festival as proven by the director's frequent visits to festival every year a new film of his is released. The director's strong bond with the Busan International Film Festival continued with a special talk held in 2016 with world-renowned and contemporary Asian directors Hou Hsiao-hsien and Lee Chang-dong. This talk offered one of the most extensive discussions in hopes of a mutual development for Asian cinema, the region where solidarity among filmmakers is considered somewhat weak, compared to those in the Western film industry. In the following year, Kore-eda Hirokazu joined the Asian Film Academy (AFA) as a dean of the program, where he took the lead in teaching young Asian filmmakers. Director Kore-eda Hirokazu has sought new opportunities with the Busan International Film Festival for the future development of the Asian film industry, and has recently expanded the scope of projects by participating in productions by young talented directors. In honor of his life-time contributions to the film industry, the Busan International Film Festival, with special respect to one of the greatest filmmakers of our time, has decided to award Kore-eda Hirokazu the “Asian Filmmaker of the Year”. Asian Filmmaker of the Year will be awarded to the director Kore-eda Hirokazu at the premier of his latest film The Truth, official selection for the Gala Presentation section on Saturday, October 5 at 19:30.
The 24th Busan International Film Festival Announces Opening Ceremony Hosts Jung Woo-sung and Lee Hanee
The 24th Busan International Film Festival announces actor Jung Woo-sung and Lee Hanee as Opening Ceremony hosts. Jung Woo-sung, a versatile actor who has thrived on challenges in every role he plays, and Lee Hanee, beloved Korean actress known for her solid on screen and TV series acting, will stand together at BIFF Theater, Busan Cinema Center for the Opening Ceremony of the 24th Busan International Film Festival. One of Korea’s iconic actors, Jung Woo-sung started his acting career 25 years ago with The Fox With Nine Tails in 1994. The 1997 Beat helped Jung become a teenage cult figure in Korea and brought him widespread fame. He has since shown a wide spectrum of acting skills from box office hits including A Moment to Remember (2004), The Good, the Bad, the Weird (2008), Asura: The City of Madness (2016) and Steel Rain (2017) to TV series Athena: Goddess of War (2010), Padam Padam (2011). Jung Woo-sung has proved himself to be the best actor of Korea by winning the 55th Baeksang Arts Awards Grand Prize in the category of film and the 39th Golden Cinema Film Festival for the latest legal drama Innocent Witness (2019), where he plays the role of a lawyer Sunho. Jung will soon come back again to theaters with his new film BEASTS CLAWING AT STRAWS, coming out this year and Summit: Steel Rain, which is now filming. Lee Hanee made her first debut in 2006 as the winner of Miss Korea, a national Beauty pageant in Korea. Lee has steadily built up a solid professional profile in a wide array of genres playing various and interesting characters by starring in television series Shark (2013), Modern Farmer (2014) and films Deranged (2012), Tazza-The Hidden Card (2014), and The Bros (2017). Lee Hanee also won the Award for Best Actress in the Korea Drama Festival and the Female Excellence Award for Monday-Tuesday Drama in MBC Drama Award 2017 for her outstanding performance in Rebel: Thief Who Stole the People (2017). In 2019, Lee starred in the comedy film Extreme Job, which became a box office hit surpassing 10 million admissions. The same year, she played in comedy crime drama The Fiery Priest (2019) which also had a commercial success, proving to be an actress with true versatility, rising to stardom. It is now expected that Lee could appear soon in Hollywood productions as she has signed with a U.S. talent agency William Morris Endeavor (WME) and a fully diversified management company Artist International Group. ■ Representative works of Jung Woo-sung Film: Beat (1997), City of the Rising Sun (1999), Musa (2001), A Moment to Remember (2004), Sad Movie (2005), The Good, the Bad, the Weird (2008), Scarlet Innocence (2014), Asura: The City of Madness (2016), Steel Rain (2017), Innocent Witness (2019). ■ Representative works of Lee Hanee Film: Deranged (2012), I am the King (2012), Tazza-The Hidden Card (2014), SORI: Voice from the Heart (2016), Fabricated City (2017), Heart Blackened (2017) The Bros (2017), Extreme Job (2019)
The 24th Busan International Film Festival Announces Jury Members for the New Currents and Kim Jiseok Award
The 24th Busan International Film Festival has finalized jury members for the New Currents section and the Kim Jiseok Award. 5 Jury members of the New Currents to discover new Asian talents The New Currents section, a competitive section of the Busan International Film Festival for Asian films, introduces first or second features of up-and coming directors, who are leading the way for new Asian cinema. Jury members will announce two selections at the Closing Ceremony, which will be awarded USD 30,000 each. The head juror of this year’s New Currents Competition section is Mike Figgis. Figgis achieved great fame as a director for Leaving Las Vegas (1995) by winning the Best Director Award from the National Society of Film Critics. He made a special bond with the 2nd Busan International Film Festival in 1997 where One Night Stand (1997) was screened. Karel Och, artistic director of the Karlovy Vary IFF, Samal Yeslyamova, the winner of the Best Actress Award at the Cannes Film Festival 2018 for Ayka, and Lee Sinje, the first Malaysian awardee of the Best Actress Award at the Golden Horse Awards in 2002 for The Eye, are commissioned as jurors to sit with Mike Figgis. Suh Youngjoo, the CEO of Fine Cut, who has helped internationally distribute numerous Korean films will sit on the jury panel with the other four. 3 Jurors for the Kim Jiseok Award, with a goal to encourage and discover the growth and new talents of Asian Cinema The Kim Jiseok Award has announced 3 jurors. The Kim Jiseok Award is a new award established in 2017 to remember and honor the late Kim Ji-seok. Jury members will select the final two from A Window on Asian Cinema, a section for the latest and most-talked films of Asian directors. Each film will be awarded USD 10,000. Jury members include Mohsen Makhmalbaf, an acknowledged Iranian director who has made numerous acclaimed films that include Gabbeh (1996) and Kandahar (2001); Huh Moonyung, a current program director of the Busan Cinema Center who served as the film programmer for the Busan International Film Festival and the dean of Cinematheque Busan along with Tan Chui Mui, the winner of the New Currents Award for Love Conquers All at the 11th Busan International Film Festival in 2006. [Biography: New Currents Jurors] Mike FIGGIS / Head Juror / Director / UK Film director, musician, writer, curator, and photographer – Mike Figgis is an artist whose work has spanned across various disciplines. Following the success of his debut theatrical film Stormy Monday (1988) in the United States, he entered the world of commercial filmmaking. Figgis was celebrated internationally with the success of Leaving Las Vegas (1995) which gained him great plaudits and won several awards, including the Best Director Award at National Society of Film Critics Awards 1995, and the Academy Award for the Best Actor for Nicolas Cage. Encouraged by this huge success, Figgis explored more experimental and minimal approaches to filmmaking and directed Timecode (2000), the first real-time digital film ever made. Figgis now actively explores alternative strategis in film production, designing both economic and creative platforms for contemporary filmmakers. LEE Sinje / Actress / Malaysia Lee Sinje made her debut Betelnut Beauty (2001) and won the New Talent Award at the Berlin International Film Festival. She earned a big splash with The Eye (2002) and became the first Malaysian recipient of the Best Actress Award at the Golden Horse Awards in 2002. In the same year, she won the Best Actress Award at the Hong Kong Film Awards, Hong Kong Golden Bauhinia Awards, and Chinese Film Media Awards, marking her as a world-famous star. She was invited as a jury member to the Taipei Film Festival and Golden Horse Awards, and has been the ambassador of the Malaysia International Film Festival since 2017. Karel OCH / Artistic Director / Czech Republic Karel Och studied film theory and history at Prague’s Charles University. Since 2001, he has worked for the Karlovy Vary International Film Festival as a selection committee member and also curated filmmaker retrospectives, including Sam Peckinpah, John Huston and Elio Petri among many others. He was appointed as an artistic director of the Karlovy Vary IFF in 2010. He is now a member of the European Film Academy, the Lux Prize selection, and FIRESCI. SUH Youngjoo / Chief Executive Officer / Korea Suh Youngjoo, the CEO of Finecut Co., LTD., has produced, financed, and internationally distributed more than 200 Korean and co-produced films: Burning (2018), Poetry (2010), and Oasis (2002) by Lee Chang-dong, Old Boy (2003) by director Park Chan-wook, The Host (2006) by director Bong Joon Ho, A Tale of Two Sisters (2003) by director Kim Jeewoon, The Wailing (2016) and The Chaser (2008) by director Na Hong-jin, and of course many of director Hong Sangsoo’s. She continuously challenges new attempts in the film industry by establishing an actor management division, Finecut Entertainment, and Korea’s first Writers Agency (WAF). Samal YESLYAMOVA / Actress / Kazakhstan A Kazakh actress, Samal Yeslyamova graduated from the Russian Academy of Theatre Arts (GITIS) with a specialization in directing and acting. She starred in the film Tulpan (2008) by director Sergey Dvortsevoy, which won the Prix Un Certain Regard at the Cannes Film Festival. She also won the Best Actress Award at the Cannes Film Festival for Ayka (2018), marking her as a renowned leading actress. [Biography: Kim Jiseok Award Jurors] HUH Moonyung / Film Critic / Korea Huh Moonyung started his career as a film journalist and then a film programmer for the Busan International Film Festival and a director of Cinematheque Busan. He has also served as a film critic for some film magazines and published two books on film. He is now working for the Busan Cinema Center as a program director, and a contributor for a bimonthly film magazine FILO. Mohsen MAKHMALBAF / Director/ Iran Mohsen Makhmalbaf is an Iranian director, writer, producer. He is known as one of the most in?uential ?lmmakers and founders of the new wave of Iranian cinema in the world today. During his career Makhmalbaf has made numerous critically-acclaimed ?lms including, Salaam Cinema (1995), Time of Love (1990), Gabbeh (1996), A Moment of Innocence (1996), The Silence (1998), Tales of Kish (1999), Testing democracy (2000), Kandahar (2001), Scream of the Ants (2006), The President (2014) and The Night of Zayandeh-Rood (1990). He is the recipient of more than 50 international awards from some of the most prestigious ?lm festivals across the world. His ?lm Kandahar has been chosen as one of the top 100 best movies of history of cinema by Times Magazine. And his ?lm A Moment of Innocence has been selected as one of the top 10 best ?lms of the 90s amongst the directors of world international ?lm festivals. As a writer- director Makhmalbaf has also published more than 30 books, many of which have been translated and published in many languages. TAN Chui Mui / Director / Malaysia Born in Malaysia, Tan received the New Currents Award and FIPRESCI Award at the 11th Busan International Film Festival for Love Conquers All (2006). She received inaugural reviews and awards from numerous international film festivals including International Film Festival Rotterdam, Clermont-Ferrand International Short Film Festival, and International Short Film Festival Oberhausen, and has served as a jury member at the Busan International Film Festival, International Film Festival Rotterdam and Pacific Meridian International Film Festival. She pioneered the Malaysian New Wave Cinema thanks to her founding of the Da Huang Pictures in 2005. Tan is constantly consolidating her position as a prominent actress, both in name and reality as well as a platform organizer to discover new Malaysian talents.
The Asian Film Market 2019 Launches the Asia Contents Awards
The Busan International Film Festival and the Asian Film Market will launch its first Asia Contents Awards, which recognizes outstanding TV series in the television industry from across Asia. The Asia Contents Awards is expected to help expand a new footprint into the market of non-film content and TV series. The Asia Contents Awards are a reward for the finest TV dramas produced over the past five years from Asia that includes 10 ASEAN countries, South Korea, China and Japan. The awards are comprised of 8 categories. The Asia Contents Awards will take place at BIFF Theater, Busan Cinema Center, followed by a red-carpet treatment for the honored guests and celebrated performances. Promotional booths will be set up in the Asian Film Market to connect every major industry player with broadcasters participating in the Asia Contents Awards. Asia Contents Awards, in its first year, hopes to grow in reputation and become a significant event including all aspects of content from TV series, OTT-originated original series at home and abroad, and original contents presented in the Entertainment Intellectual Property (E-IP) Market, a trading zone for IP rights. [Asia Contents Awards] ■ Title: Asia Contents Awards ■ Date: Sunday, October 6, 2019 ■ Venue: BIFF Theater, Busan Cinema Center ■ Awards: 7 Awards, 1 Lifetime Achievement Award
Special Program in Focus at the 24th Busan International Film Festival
The 24th Busan International Film Festival, held from October 3 to 12, will exhibit a Special Program in Focus on the ‘100th Anniversary of Korean Cinema’ and ‘Asia’s Leading Women Filmmakers.’ The 100 Year History of Korean Cinema, 10 Great Korean Films The Busan International Film Festival will screen various representative films of Korean masters in celebration of the centennial anniversary of Korean Cinema. Programmer Jung Han-seok said, “One of the crucial roles of the Busan International Film Festival is to archive, select, and introduce compelling traditional Korean films that encapsulate Korean history, traditions, and customs." The festival selected 10 films after a deep discussion led by 37 committee members of ‘The Movie We Loved: 100 Years of Korean Cinema’ organized by the Hankyoreh Daily and CJ Cultural Foundation. The 10 selected films in the Special Program in Focus represent the historical and cultural heritage under the theme of ‘The 100 Year History of Korean Cinema, 10 Great Korean Films.’ The selections are The Housemaid (1960) by director Kim Ki-young, Aimless Bullet (1961) by director Yu Hyun-mok, A Day Off (1968) by director Lee Man-hee, The March of Fools (1975) by director Ha Gil-jong, Good Windy Days (1980) by director Lee Jang-ho, Why has BOHDI – Dalma Left for the East? (1989) by director Bae Yong-kyoon, Sopyeonje (1993) by director Im Kwon-taek, The Day a Pig Fell into the Well (1996) by director Hong Sang-soo, Memories of Murder (2003) by director Bong Joon Ho, and Old Boy (2003) by director Park Chan-wook. Guest Visit events with domestic and internationally renowned filmmakers and directors will be held during the festival. Gaze and Memories – Asia’s Leading Women Filmmakers This year, another eagerly awaited Special Program in Focus at the Busan International Film Festival is ‘Gaze and Memories– Asia’s Leading Women Filmmakers.’ Deepa Mehta from India, Yasmin Ahmad from Malaysia, and Trinh T. Minh-ha from Vietnam will lead the program. Persistent work through the decades with different genre style has enabled director, Yasmin Ahmad to build on remarkable achievements that led to a breakout in 2009 whereas allowed Deepa Mehta and Trinh T. Minh-ha to continue with contemporary relevance. In this year’s special program, Deepa Mehta’s 3 films, Fire (1996), Earth (1998), and Water (2005), cover sensitive issues on Indian women, hierarchy and sexuality along with Yasmin Ahmad’s Mukhsin (2006) and Talentime (2009) that are reinterpreted through the love and sexuality of naïve youth as a response to social controversies against society and religion. Included in the 8 finalized selections are Reassemblage (1983), Surname Viet Given Name Nam (1989) and Forgetting Vietnam (2016), directed by Trinh T. Minh-ha, who has cinematized issues on post-colonialism and gender as well as history. As a feminist director who is also a post-colonialism scholar, Trinh T. Minh-ha will be the keynote speaker of South and Southeast Asian Cinema section at Forum BIFF on October 9. In this special forum, both internal and external film scholars will lead the floor by sharing academic presentations and discussions on this year’s Special Program in Focus. Director Trinh T. Minh-ha will be at the GV event to engage moviegoers after the screening.
24th Busan International Film Festival Korean Cinema Retrospective: A refined extreme artist, the cinematographer JUNG Il-Sung
The 24th Busan International Film Festival announces Jung Il-Sung for the Korean Cinema Retrospective. Jung, a renowned cinematographer, has worked on the history of Korean films and left a significant mark on unique filmmaking as a master of cinematography. He began his career in his late 20s with Farewell Sorrow! (1957) directed by Jo Keung-ha. In Woman of Fire (1971) by director Kim Ki-young, Jung showed his exclusive techniques of angle and color aesthetics to build a grotesque world as well as exhibit great enthusiasm by capturing four different seasons in a year-long film production, The Last Witness (1980), directed by Lee Doo-yong. Following an encounter with director Im Kwon-taek in Divine Bow (1979), he eventually hit a high point in his career with Mandara (1981). Mandara was the first Korean film to be invited to the Panorama section of the Berlin International Film Festival 1982, in appreciation of displaying mise-en-scenes and sequences which were unlikely used in Korean cinema at that time. Jung has subsequently shown a great chemistry of collaboration in many of Im Kwon-taek’s masterpieces such as Sopyonje (1993)and Strokes of Fire (2002). Jung Il-Sung is a pioneer of the aesthetic cinematography shown in Korean cinema, who had worked with a vast number of contemporary representative Korean directors. This year, 7 of Jung Il-Sung’s masterpiece selections – Woman of Fire (1971) by director Kim Ki-young, Son of a Man (1980) by director You Hyunmok, The Last Witness (1980) by director Lee Doo-yong, Mandara (1981) by director Im Kwon-taek, Late Autumn (1981) by director Kim Soo-yong, Hwang Jin-yi (1986) by director Bae Chang-ho, and Born to Kill (1996) by director Jang Hyun-soo – will be screened at the 24th Busan International Film Festival Korean Cinema Retrospective from October 3 to 12, 2019. List of Korean Cinema Retrospective Films (titles in year of production order) Woman of Fire by director KIM Ki-young (1971) Myeong-ja comes to work for free at Jung-sook’s house. Jung-sook’s husband, Dong-sik, rapes Myeong-ja and she gets pregnant while Jung-sook isn’t home. Jeong-sook forces her to have an abortion after she finds out, but Myeong-ja, in turn, poisons Dong-sik’s son. Jeong-sook tries to kill Myeong-ja with rat poison, but is trapped by Myeong-ja’s conspiracy. Son of a Man by director YOU Hyunmok (1980) Yo-sup is found dead in a church. A detective Nam searching for the cause of Yo-sup’s death finds a clue from Yo-sup’s friend, Hwang, and Jo dong-pal is believed to be Yo-sup’s stalker. The detective discovers from Dong-pal’s father and a prostitute that Yo-sup has been worshiping traditional pagan gods and denying Christ. The Last Witness by director LEE Doo-yong (1980) Detective Oh goes searching for the murderer of Yang, a small-time brewer found bludgeoned to death. As he wanders and seeks for evidence, he meets Son Ji-hye, a concubine of Yang who becomes a bar girl, and Kang Man-ho, the North Korean partisan. Mandara by director IM Kwon-taek (1981) After three months of winter ascetic practice, military force stops a bus for an inspection. When a monk with no official holy orders was forcedly dragged down, young monks Ji-san and Beob-wun follow him. Ji-san gets free after chanting a Buddhist prayer and he reunites with Beob-wun at a temple. Ji-san realizes the Buddha literally exists everywhere whereas Beob-wun finds the ways of the world are meaningless even after six years of practice. Late Autumn by director KIM Soo-yong (1981) A female prisoner is given special leave for good behavior. She meets a young fugitive who tries to convince her to run away with him while she is riding the train to go visit her mother’s grave. Both fall in love, but she refuses and returns to prison. Hwang Jin-yi by director BAE Chang-ho (1986) Magistrate Hwang’s daughter Jin-yi is jilted before her wedding because a shoe maker commits suicide after he was smitten by her. Jin-yi becomes a courtesan famous for her wit and beauty. She falls for Byuk kye-su, but he is chosen to be an envoy to a far off kingdom. When he leaves she feels so betrayed that she takes to a life of wandering eagerly. Born to Kill by director JANG Hyun-soo (1996) Kil becomes a profession killer after running away from his mother who tried to commit suicide. Kil’s life becomes complicated when he falls in love with his hostess neighbor, Soo-ha after nursing her through a bad hangover. He now stands at the crossroads between a killer and an ordinary man.
Opening Ceremony of the 16th EBS International Documentary Film Festival (EIDF 2019)
The opening ceremony of the 16th EBS International Documentary Film Festival (EIDF 2019) sponsored by EBS (Chairman Kim Myung-joong) and sponsored by Goyang City was held at 7 pm EBS Space Hall on Monday, August 19th. Hosted by the broadcaster Kim Kuk-jin and actor Kim Gyu-ri, the opening ceremony of EIDF 2019 was also broadcast live on the YouTube EIDF channel. ▲ The biggest event of the year for Korean documentary lovers is finally revealed. ▲ This year's opening ceremony was held by Kim Kook-jin and actor Kim Gyu-ri. At the opening ceremony, Chairman Kim Myung-joong announced the opening of the EIDF 2019, and judges including Morten Traavik, directors of the festival's competition works, and documentary directors both at home and abroad were in attendance. Representatives including a legislator Kim Kyoung-jin, a senior deputy mayor Lee Chun-pyo, the standing committee of Korean Communications Commission Go Sam-seok, the chairman of Goyang City congress Lee Yoon-seung, and the officials from Korea Creative Content Agency, Korea Radio Promotion Association, and Korea Communications Agency attended the ceremony to celebrate the opening of the festival. The chairman of EIDF, Kim Myung-joong declared the start of the festival. "The documentary has recorded hope, frustration, truth, lies, light and even darkness. In the age of uncertainty, I think documentaries are more important than ever." ▲ With the opening declaration of Chairman EBS Kim Myung-joong, the event schedule for EIDF 2019 has begun. ▲ Documentary producers and directors who entered the competition section expressed their impressions about the visit. ▲ Among the entries, Russian and Japanese works received attention by illuminating the dark memories and aspects of human history. ▲ Lee Chang-jae, chairman of the jury, revealed his impressions this year and asked for interest in Korean documentaries. ▲ Global pitching participants who will lead the future documentary trends were introduced and applauded. The opening ceremony of EIDF 2019 was prepared to introduce the main contents and programs of the festival, including stage greetings from competing works' directors and introduction of judges. As for special performances, the percussion performance team "Good Friends" was held at the begging of the ceremony, and at the end, "JustJerk" showed a great performance. After the ceremony, EIDF 2019's opening film "Midnight Traveler" was screened. ▲ The opening ceremony was concluded shortly after the introduction of the main contents of "Midnight Traveler". EIDF 2019 will be held in Goyang-si and Seoul at the same time until 25th (Sun) following the catchphrase 'Documentary, Lighting the World!'. 73 documentary films from 34 countries will be screened on the three theaters including EBS, Megabox Ilsan Bella Citta, and Small Theater Under the Clouds of Hongdae, and EBS 1TV Channel. There are also various program events: 'EIDF Special Forum with representative architects of Korea: Urban and Architecture-Warmth of Home' (8/21 19:00, Small Theater Under the Clouds), and various special talks with the theme of 'Is it good to marry', 'We go to Pyeongyang without fear', and 'My Dog's Taste'. Meanwhile, EIDF 2019, which marks its 16th this year, will be held in Goyang-si and Seoul from August 17th (Sat) to August 25th (Sun). Through documentary VOD service 'D-BOX', it is possible to watch films again.
24th Busan International Film Festival Unveils the Actor & Actress of the Year Award Jurors: BAE Jong-ok, JUNG Jae-young
The 24th Busan International Film Festival unveils Bae Jong-ok and Jung Jae-young as jury members for the Actor & Actress of the Year Awards. The Actor & Actress of the Year Awards are presented to promising actors and actress who will lead the future of Korean film. The awards are given to the actor and actress with the most impressive performance in Korean independent films among the ‘New Currents’ and ‘Korean Cinema Today – Vision’ section. Sitting on the jury for the Actor & Actress of the Year Awards are Bae Jong-ok and Jung Jae-young, who have shown inimitable performances in a wide range of genres. The prior winners of the Actor & Actress of the Year Awards, launched in 2014, are Choi Woo-shik in Set Me Free (2014), Cho Soohyang in Wild Flowers (2014), Lee Ju-won in Alone (2015), Jang Sun in Communication & Lies (2015), Lee Minji and Koo Kyohwan in Jane (2016), Jeon Yeobeen in After My Death (2017), and Park Jonghwan in Hit the Night (2017). Past awardees of the Actor & Actress of the Year Awards at the 23rd Busan International Film Festival include Lee Juyeong in Maggie (2018) and Moon Choi in Our Body (2018), who has presented a delicate expression and characteristic charm. The 24th Actor & Actress of the Year Award recipients will be revealed at the Closing Ceremony on October 12. Awardees will be selected by jury members and awarded with a cash prize of 5,000,000 KRW each.
The 22nd Asian Project Market Selects 29 Official Projects
The Asian Project Market (APM), the biggest investment and co-production market in Asia, selects 29 official projects for 2019. APM, which marks its 22nd edition this year, is a business platform offering opportunities for investment and co-production by introducing promising film projects from around the world to film industry professionals. Since its inception in 1998, APM has presented 556 projects and represents a center of creativity that has kick-started numerous noteworthy and exceptional films. Diverse Projects Seek Co-production Opportunities at APM 2019 APM received 384 projects from 60 countries, among which 29 projects were finally selected after a fierce competition. This year, numerous projects were submitted from India, the Philippines, and Japan. APM has also seen a continuous increase in the number of co-produced projects between diverse countries such as France, the United States, Nepal, and Malaysia. Projects to note include the following: Silah and the Man with Two Names, the new project by director Yosep Anggi Noen whose latest film The Science of Fiction (Indonesia / APM 2014) is invited to the competition section of the Locarno Film Festival 2019; Black and White Photo (Nepal, Hong Kong (China), France) by director Rajesh Prasad Khatri, which was selected to receive the Script Development Fund of Asian Cinema Fund this year; The Rain Bride (Kurdistan (Iraq)) by Hussein Hassan, the director of the closing film The Dark Wind at Busan International Film Festival 2016; and Mother Tongue (Kazakhstan) by director Zhannat Alshanova who received recognition in many international film festivals such as the Cannes Film Festival for her short film. Many projects submitted from the Chinese-speaking regions dealt with today’s ongoing societal issues. Among them, The Courier Always Knocks Twice by director Hu Jia, Black Sheep by director Luo Bin, and Coo-Coo by director Chan Ching Lin were selected for their great potential to attract the film industry professionals’ interest to talk about the possibility of a co-production deal. Numerous Vietnamese projects were submitted this year, reflecting the vibrantly growing film industry in Vietnam. This year’s projects from Vietnam include Skin of Youth by director Ash Mayfair, who won the NETPAC Award at the Toronto International Film Festival 2018 for her previous work The Third Wife, and Picturehouse by director Nguyen-Vo Minh. From Commercial to Independent, Finest Selection of Korean Projects Eight Korean projects of diverse genres were chosen for the APM this year. Cart (2014) director Boo Jiyoung’s About Daughter is a project based on a novel of the same title and written by Kim Hyejin. A regular at multiple international film festivals, director Jang Kunjae will present A House with Ghosts, the script of which will be worked on by the renowned Japanese writer Yoshimoto Banana. Root Story by director Cho Minjae, who is known for his outstanding creativity, is expected to attract much attention. Projects by the rising stars in the Korean commercial film scene include The Scarecrow by director Han Junhee, Moon Chasers by director Kim Jinhwang, and The Child by director Kang Donghun. Winter Worm, Summer Grass by director Kang Sangwoo, and Good Day by director Kim Mooyoung will represent the projects by the future leaders of the Korean independent film scene. The APM 2019 will present these 29 new projects for 3 days starting Sunday, October 6th to Tuesday, October 8th at BEXCO, Busan.
Asian Film Academy 2019 Announces Faculty Members and Fellows
The Asian Film Academy (AFA), an educational program for fostering young Asian filmmaking talents and a platform for building a professional network throughout Asia, is proud to announce the faculty members and 24 fellows for 2019. AFA 2019 Strengthens Mentorship for Asian Filmmakers This year's AFA faculty consists of Mouly Surya as directing mentor along with Karina Kleszczewska and Kim Young-Ro as cinematography mentors. Mouly Surya has been widely praised for her film Marlina the Murderer in Four Acts at many prestigious film festivals around the world. Karina Kleszczewska has a name for herself in the Polish film industry as director of photography, in addition to working as the lighting director for theatre plays. Kim Young-Ro is a cinematographer, stereographer, and professor with an abundant amount of experience from traditional films to 3D films. In previous years, the faculty consisted of a dean, a directing mentor and a cinematography mentor. The change in the faculty structure is to strengthen the mentorship program at AFA. This is in tune with the goal of BIFF Film Academy to provide quality and sustainable educational programs and practical support to Asian filmmakers. BIFF Film Academy is a newly-established department in Busan International Film Festival this year and will oversee the operations of not only AFA, but also ACF (Asian Cinema Fund) and APM (Asian Project Market). Sung Jihae, former Asian film programmer of the Busan International Film Festival 2018, has been named director of the BIFF Film Academy. 392 Applicants from 33 Counties, AFA Setting All-Time Record Amid growing interest in the Asian Film Academy, for its 15th edition, AFA has set a new record for the number of applications received, with 392 candidates from 33 different countries this year. The 24 fellows who weathered through the tough competition include Nuhash Humayun, co-director of the 23rd Busan International Film Festival's official selection Sincerely Yours, Dhaka, and Aizhana Kassymbek, director of Air. The 24 fellows will join the AFA program for 18 days from September 26 to October 13, under the close mentorship of Mouly Surya (directing mentor), Karina Kleszczewska (cinematography mentor), and Kim Young-Ro (cinematography mentor).
Asian Cinema Fund 2019 Selection Announced
Asian Cinema Fund (ACF), a funding initiative that discovers and supports creative and talented Asian filmmakers to vitalize the production of Asian independent films, announces its 2019 selection. ACF selected 17 of 368 projects submitted to ACF’s three funding categories: Script Development Fund, Post-Production Fund, and Asian Network of Documentary (AND) Fund. The Script Development Fund selected three Asian projects for script development support. Projects that show clear evidence of a director’s originality have been selected for this year. Following last year’s trend, projects submitted by graduates of the Busan International Film Festival’s Asian Film Academy (AFA) were of exceptional quality in storytelling skills. Social criticism and fresh insights of the director are evident in the film treatment of selected projects. Black and White Photo follows the journey of a young student in a remote Nepal village in his quest to obtain a black and white photo to complete his high school entrance exam application form. Commedia tells a story of a woman who tries to find her own answers in a world of patriarchy and corrupted politics. It has a bold and clever narrative structure in the context of a thriller film. In A Pair of Leather Clogs, an elderly homeless woman tries to reestablish her relationship with her daughter while the country is preparing for the Olympics. It offers an insightful, but a bitter look into the absurdities in this world. The Post-Production Fund supports four feature film projects that will be world premiering at the 24th Busan International Film Festival. The Murders of Oiso is set in a small rural city in Japan where various societal problems abound. The director Misawa Takuya’s experimental style in editing and use of sound is notable in trying to bolster the narrative. A mystery drama set in a Himalayan resort, Nirvana Inn is director Vijay Jayapal's second feature film that was presented at the Asian Project Market last year. Moving On and Way Back Home (working title) are selected for Korean projects. Moving On is a story about a teenage girl’s family and their stay at a house where she acts as an observer who eventually overcomes the feeling of loss and moves on. Way Back Home (working title) tells the story of a woman’s journey of overcoming her pains after hearing from the police that a sex offender from ten years ago was caught. The Post-Production Fund provides in-kind support consisting of Digital Intermediate (DI), sound mixing, English subtitles, and Digital Cinema Package (DCP). Partner companies continuing in their support are Korean Film Council (KOFIC), CJ Powercast, Studio 2L, Wavelab STD., Plus Gain, Pluto Sound Group, and KUMTLE. This year, Algorithm Media Lab, IYUNO Media Group, C-47 Post Studio, and DOLUCK will also offer post production support as newly-joined partners. AND Fund has selected 10 projects this year to support feature-length documentaries that aim for theatrical release. The number of submissions for Korean projects this year has doubled from the previous year, and many projects now show diverse and vast viewpoints, while upholding a critical awareness of pertinent issues. The projects selected this year are distinguished by their original and fresh perspective on a variety of topics ranging from the lives of gypsies in Bosnia to the Korean election campaigns. The KBS Doc Fund, newly added to the current AND Fund, is Asian Cinema Fund and Korean Broadcasting System (KBS)’s joint effort to support the production of Korean independent documentaries. This year’s selections, Speed of Happiness by Park Hyuckjee and My Missing Aunt by the director Yang Juyeon, will receive funding for production and distribution. This year’s selected 4 Asian projects show a new approach and perspective to much-talked-about issues with great cinematography. They portray the lives of ordinary people in a simple and poetic manner, who are in the midst of extreme circumstances such as gender inequality, war, displacement, poverty and industrial disaster.
Asian Film Market Taps New Co-Directors
Fourteen years after its establishment in 2006, the Busan International Film Festival is proud to announce that the Asian Film Market will enter a new phase. With a co-chair structure, the Asian Film Market plans to solidify its foundation as Asia’s largest film and content market by extending boundaries and organizational management. Tcha Sung Jai and Oh Dongjin, new co-directors of the Asian Film Market Veteran film producer Tcha Sung Jai and a well-known film critic Oh Dongjin have been tapped as new directors for the Asian Film Market. Tcha Sung Jai, new co-director of the Asian Film Market, was one of the most prominent industry bigwigs among second generation producers in Chungmuro. He took the lead in the Korean film industry in the 2000s by producing numerous hit films like Beat, Christmas in August, Memories of Murder, Spirit Of Jeet Keun Do, The Big Swindle, A Moment To Remember, The War Of Flower, and Fashion King. Oh Dongjin has worked as a film critic for the Munhwa Ilbo, Yonhap News Agency, YTN and Film 2.0. as well as served as a member of the executive committee of the Busan International Film Festival, director of the Jecheon International Music & Film Festival, director of the Marie Claire Film Festival, deputy director of the Seoul Eco Film Festival and director of the Wildflower Film Awards Korea. The Asian Film Market has formed a new committee with a new co-chair system. The two new directors and fourteen committee members (including producer Jonathan H. Kim and Korea Broadcasting Channel Promotion Association chairman Moon Munyeon Kim) are expected to create significant synergy in uplifting the operation of the market and providing diverse content. Beyond film, the Asian Film Market expands its business into non-film content and TV series With a newly reinforced organization, the Asian Film Market will meet new challenges and expand its current well-positioned film sector business into non-film content sectors. This approach can be interpreted as a first step into becoming an effective content market that includes both TV series and contents available through streaming platforms such as Netflix. The Asian Film Market plans to establish its first ever Asia Contents Awards this year. Awards will be presented to recognize excellence in video content presented by Asian countries as well as to honor and encourage the most well-loved and influential contents of the year. With the Asia Contents Awards, the market is expected to branch out as Asia’s largest film market with diverse video content distributed on TV and video platforms such as terrestrial, cable and OTT. The Asian Film Market will take place from October 5 to 8 for 4 days in Exhibition Center 2, Bexco in Busan.
Busan International Film Festival Announces New Deputy Director and Programmers
Kang Seungah, new deputy director of Busan International Film Festival Kang Seungah, the former senior editor of the Busan Ilbo, has been tapped as the new deputy director of the Busan International Film Festival. Kang, who carved out a fulfilling career at the Busan Ilbo, worked as a journalist covering various divisions such as society, economics, culture and international affairs, as well as served as the head of education, culture and the editorial division. Kang Seungah, along with her associate Kim Bokkeun, the current deputy director, will focus on administering the affairs of the organization and take the lead in strengthening cooperation with strategic partners. In particular, she is expected to enable smooth communication between the festival and the local community. The Busan International Film Festival, with its established dual deputy director structure, is expected to create a more efficient and congruent communication channel that can better cooperate with film-related agencies, institutions, organizations and local communities. New programmers have joined the Busan International Film Festival The selection committee, which often remained vacant, is now currently filled. Under the leadership of program director Nam Dong-chul, Pak Dosin and Seo Seunghee are now in charge of World Cinema, Park Sun Young, Park Sungho and Chae Bohyun will take the helm of Asian Cinema and Jung Hanseok will work as the Korean Cinema Programmer. Kang Sowon is appointed to program the Wide Angle section that shows short films, documentaries, and experimental films and Jung Mi is now responsible for ‘Community BIFF’, an audience-driven, civic participation event that takes place in the central area of Busan, Jung-gu. With the newly joined deputy director and programmers breathing new life into the organization, the Busan International Film Festival is stepping up its preparations for the 24th edition of the festival. This year's edition will take place from October 3rd to 12th.
Busan International Film Festival : Asian Project Market 2019 Call for Applications
Applications for the Busan International Film Festival’s ‘Asian Project Market’ (APM) are now open at the APM’s official website (http://apm.biff.kr) until Saturday, June 15. APM provides opportunities for filmmakers to take their new projects forward with potential investment and co-production partners. It also discovers new and striking film projects, ranging from large commercial scale to low-budget independent films to link them with global film investors, producers and distributors. Originally launched in 1998 as the Pusan Promotion Plan (PPP), APM celebrated last year’s edition by arranging 743 official business meetings with the participation of 149 related companies, a record-breaking result. APM has established itself as the largest investment and co-production market in Asia. APM has selected 556 projects over the last 21 years, and about 230 projects have been completed. Projects from previous editions include films by internationally renowned directors such as Lee Chang-dong’s Oasis (Korea/APM 2001) and Poetry (Korea/APM 2008), Bong Joon-ho’s The Host (Korea/APM 2004) and Snowpiercer (Korea/APM 2009) and Platform directed by Jia Zhang-ke (China, Hong Kong(China), Japan, France/APM 1998). Also many other films were highly praised at major film festivals. Jinpa by director Pema Tseden (China/APM 2014) won the Best Screenplay in Orizzonti at the Venice International Film Festival 2018, A lullaby to the Sorrowful Mystery by director Lav Diaz (Philippines, Singapore/APM 2012) was awarded the Silver Bear at the Berlin Film Festival 2016, and Diamond Island by director Davy Chou (Cambodia, France, Germany, Thailand, Qatar/APM 2014) was given the SACD Award at the Cannes Critics’ Week. In addition, director Kawase Naomi’s An: Sweet Red Bean Paste (Japan, France, Germany/APM 2013) was selected for the Un Certain Regard section opening film of the Cannes Film Festival 2015 and director Mohsen Makhmalbaf’s The President (Georgia, France, UK, Germany/APM 2013) was screened as the opening film in Orizzonti of Venice International Film Festival 2014. APM selects around 30 creative feature film projects by both young and well-known directors in Asia and throughout the world. Business meetings for investment and co-production are slated to start Sunday, October 6 to Tuesday, October 8 for 3 days at the Busan International Film Festival.
Asian Film Academy 2019 Call for Applications
Busan International Film Festival’s educational program ‘Asian Film Academy (AFA)’ is now accepting applications. AFA fosters young Asian talents and builds networks for Asian filmmakers. The application is available online at http://afa.biff.kr until April 30, 2019. Since its inception in 2005, AFA has produced 337 alumni from 32 countries in Asia. Many alumni have stood out in major film festivals around the world. Manta Ray by director Phuttiphong Aroonpheng (AFA 2009, Thailand) won the Orizzonti Award for Best Film at the Venice International Film Festival 2018 and Last Night I Saw You Smiling by director Neang Kavich (AFA 2013, Cambodia) won the NETPAC Award at the International Film Festival Rotterdam 2019. Crocodile Tears by director Tumpal Tampubolon (AFA 2010, Indonesia) and Raising a Beast by director Xaisongkham Induangchanthy (AFA 2012, Laos) have been selected for La Fabrique Cinéma, a program developed by the Institut français to support projects by young filmmakers. Both directors will attend Cannes Film Festival 2019 as part of the program. AFA fellows will participate in various programs including Workshop & Mentoring, Special Lectures, and Short Film Production for 18 days. Two short films completed by the fellows will be premiered at the 24th Busan International Film Festival. Each year, internationally renowned directors are invited as the AFA faculty members and directors such as Lou Ye, Kore-eda Hirokazu, Lee Chang-dong and Jia Zhangke have served as the dean in previous years. AFA fellows were able to learn abundant new experiences from faculty members and build a strong network among themselves. AFA 2019 will be held from September 26 to October 13. The 24th Busan International Film Festival will be held from October 3, 2019 to October 12, 2019.