"It's the highest and largest participation lineup in history." The 30th Busan International Film Festival Executive Committee seeks answers to the crisis in Korean cinema through the highest participation ever by filmmakers.
On the 26th, a press conference for the 30th Busan International Film Festival (abbreviated as BIFF) was held at the Korea Chamber of Commerce and Industry, located on Sejong-daero in Jung-gu, Seoul. Attendees included Park Kwang-soo, chairperson of the Busan International Film Festival Executive Committee, Jung Han-seok, executive director, Kim Young-deok, market director, and Park Ga-eun, chief programmer, who discussed the upcoming 30th Busan International Film Festival.
The Busan International Film Festival was planned to develop Busan, the birthplace of Korean cinema, into a region suitable for cultural arts in the era of local autonomy, moving away from the centralization of visual culture. It began in 1996 and marks its 30th this year.
Even though it is a meaningful milestone of the 30th anniversary, the current outlook toward 'BIFF' is more of concern than expectation. This is because the current crisis in the Korean film industry and the theater industry is serious, and the status of 'BIFF' cannot be the same as it once was.
To address this, the executive committee has established a competition section and boasted the highest lineup ever. Park Kwang-soo noted, "This year, the competition section has been newly created, so the overall direction of the festival seems to be focused on this area. All 14 films participating in the competition section are expected to hold a press conference."
He added, "We have worked hard to realistically show the current status and vision of the Asian film festival, which 'BIFF' has adopted as its motto. Some of the films in the competition section have already received awards at major global film festivals like Cannes, and of course, many films will be premiered for the first time at 'BIFF.' We aim to reassess all these films through the eyes of Asians at 'BIFF.'"
He expressed humility, saying, "I don't expect a new format to be completed all at once," while simultaneously encouraging public participation. "Last year, at the opening ceremony of 'BIFF,' I saw a director who brought his child but was unable to enter the theater and had to stay in the hotel, returning home. This year, we have made efforts to remedy such situations. In cooperation with the Busan Cinema Center, we are preparing to provide care for children aged 3 to 8 on the first floor while their parents watch films. We are working to ensure that no one misses a movie because of their children. We aim for a more audience-friendly film festival."
Park Kwang-soo stated, "I have attended many film festivals, and a specific atmosphere unique to festivals can sometimes create discomfort for the viewers. Due to the film festival's coercive mechanisms, there can be discomfort, so we at 'BIFF' are planning an event that takes a new approach to the relationship between the audience and the theater" while emphasizing a film festival that is friendly to the public.
The competition section features 14 films, including Daisuke Shigaya's 'Let the Cat Go,' director Bikan's 'The Wilderness Era,' director Lee Je-han's 'Under Another Name,' director Isabel Calanda's 'Another Birth,' director Jang Ryu-l's 'Twilight of Ruomu,' the directorial debut 'The Girl' by actor Seo Gi, director Vimukti Jayasundara's 'Spy Star,' and the attention-grabbing 'Breakfast Meeting for the Heartbroken' by director Lim Sun-ae, starring Suzy. Additionally, there's director Nagata Koto's 'Who Is Foolish?' director Miya Ke Sho's 'Travels and Days,' director Zhao Siqing's 'The Left-Handed Girl,' director Yoo Jae-in's 'On the Way to Disappear,' director Han Chang-rok's 'Chung Chung Chung,' and director Hasan Nazer's 'Not Permitted.' Executive Director Jung Han-seok expressed hope, saying, "I believe they will present the perspectives, influences, and visions of contemporary Asian cinema with their unique artistry."
Excitement is also building for the retrospective of Italian master Marco Bellocchio, the retrospective of actor Juliette Binoche, who served as the jury chair at the Cannes Film Festival, and the presence of renowned figures from both domestic and international cinema at Carte Blanche. Especially, director Bong Joon-ho, actor Gang Dong-won, and director Kang, who caused a global syndrome with 'K-Pop Demon Hunters,' along with journalist Son Seok-hee, are expected to enhance the significance of the event.
The open cinema section, which symbolizes 'BIFF', is decorated to be more public-friendly while awaiting thousands of spectators in the Busan Cinema Center. This includes the latest action film 'The Sunny Day' featuring Jackie Chan, and the follow-up film to actor Jung Woo's 'Wind,' 'Jjang-gu,' 'Tanyontail' by Heo Gwang-han, who returns to Busan after completing military service, Makoto Shinkai's animation film adaptation '5 Centimeters per Second,' and the timeless classic 'The Lovers on the Pont Neuf' by Juliette Binoche.
The Midnight Fashion late-night screenings, which were typically held for 2 or 3 days, have been expanded to 4 days. On the final day, at midnight on Sunday, recent directional series 'Exterior' by Marco Bellocchio and the six-part 'Night' will be screened back to back, adding significance.
This public-friendly approach was also devised to break through the crisis in Korean cinema. Chairperson Jung noted, "Everyone is aware of the crisis in Korean cinema. The 30th anniversary of 'BIFF' is intended to be a festival that wishes for the resurgence of Korean cinema," and added, "As already announced, we have the opening film 'No Other Choice,' along with the gala presentation 'Good News.' Please pay attention to the Vision Korea sessions as well. This year, the willingness of Korean filmmakers to attend 'BIFF' is very high. I cannot enumerate all the directors and actors here, but directors Park Chan-wook, Lee Chang-dong, Ryu Seung-wan, Im Soon-rye, Min Kyu-dong, and Jang Jae-hyun will all visit 'BIFF' this year to support Korean cinema and raise their voices."
Furthermore, he stated, "There have been times when very famous specific stars and directors have visited our film festival. Though it may be an exaggeration for us, the overseas guest lineup for the 30th anniversary is monumental and at its highest and greatest ever. Such a lineup has actually been formed. All the key contemporary masters and actors of Asian cinema will converge in Busan. The living legend Marco Bellocchio will visit an Asian film festival for the first time in his 80-plus years in cinema. Juliette Binoche will also attend after 15 years since her last visit to Busan in 2010 for the 30th anniversary," proudly proclaiming.
Additionally, "Sean Baker will visit Korea as a producer in the competition section and participate in the official schedule for the competition section. Japan's representative filmmaker Lee Sang-il will also visit Busan. Many have been waiting for Guillermo del Toro, who has swept Venice and the Oscars, to come to Busan with 'Frankenstein.' Hollywood master Michael Mann will also be attending. Personally, I never imagined I would be able to meet the aforementioned directors and actors in one place. I feel proud to say that," and he emphasized the attendance of Asian stars such as Junichi Okada, Kazunari Ninomiya, and Oguri Shun as well.
Apart from the competition section, this year's award winners have already been disclosed, including Jafar Panahi for the Asia Film Awards, director Jung Ji-young for the Special Contribution Award, and Sylvia Chang for the Camellia Award. Additionally, 'Forum BIF' will resume this year with the theme 'Asking for the Issues in Asian Cinema', indicating expectations on how to multi-dimensionally shed light on the realities and future of Asian cinema and seek alternatives.
Moreover, the 'BIFF' side noted, "After the weekend, people tend to leave, and only the films remain. This concern lingers. The newly established competition section will introduce a more diverse range of works and new pieces that will continue through the middle stage. Meanwhile, we plan to conduct various event programs starting from Monday. We have been holding Community BIF in Nampo-dong every year and will bring the audience participation program to Centum so that the audience in the Haeundae area can also enjoy it."
The opening ceremony, marking the beginning of the film festival, will be hosted solely by Lee Byung-hun. The closing ceremony, which marks the finale of the film, will also be hosted solely by actor Soo-hyun, adding significance to the award ceremony in the competition section.
In relation to this, Park Kwang-soo stated, "Looking at last year's opening and closing, I thought this could not happen. This year, especially, it will be more focused on the award ceremony. 'BIFF' has constituted a non-competitive section, which means the award ceremony has not been a proper award ceremony. I entrusted the direction to talented filmmaker Min Kyu-dong, who can encompass the entire stage."
Additionally, "We have chosen a sole host who can control foreign guests and domestic guests from the center stage while leading the film festival. Lee Byung-hun will host the opening ceremony, and actor Soo-hyun will also host the closing ceremony, which will create a different atmosphere."
Finally, Park Kwang-soo stated, "At this year's closing ceremony, we will have a morning press conference, but we will not announce the award results. Until the award winners are announced, no one will know who receives the awards, and the award winners will also come up. The closing ceremony will have an exciting tension and fun."
The importance of the Asia Content Film Market, which marks its 20th this year, has also emerged. It aims to leap forward as the largest platform for Asian content, no longer just an industry event, including China's participation.
Kim Young-deok, market director, stated, "We are witnessing an unprecedented phenomenon represented by 'K-Dehun,' which has become a worldwide trend. The accumulated strength of Korean content has indirectly influenced it, with Sony as the screening platform, but ultimately the production personnel have carried the influence of Korean cinema," and he began, "The crisis in the Korean film industry peaked in 2019 when Korean cinema was at its best, but it has rapidly worsened due to COVID-19, with theaters recovering only about 60%. We were overly satisfied with the Korean market. While we pursued joint production efforts, we need to target the global market and devise content with a global perspective for planning and distribution."
He mentioned, "Public recognition has come late. In fact, in the industry, we expanded into the Southeast Asian market from CGV while managing to settle down to a certain extent, but the joint venture with Korea has already succeeded commercially. Initially, around the late 1990s to the 2000s, it was mainly art house-centered, but we have transcended towards a qualitative transformation commercially. The industry prepared for this, and last year we launched the Producer Hub. This year we expanded it further."
Above all, he stated, "I would like to add one more thing: the reason we can quickly feel the global influence of K-content is that Netflix distributes it simultaneously worldwide. However, the film industry does not benefit from this, and talent is flowing out. It is the industry that has suffered the most damage, while K-food appears to be benefitting the most. The tourism industry is now more vibrant than ever. If we look at the bigger picture, the film industry functions as an vanguard, helping many people envision and dream, while K-food receives the benefits. However, since content internally cannot achieve tangible benefits, it is not deemed effective. The film industry has made significant contributions but is experiencing a crisis internally. Filmmakers may not necessarily have the complete answers, but as many face crises, there are claims of why they keep asking for financial support, but we do need that support, and I believe it will return tremendous benefits to Korean content and industries."
What was the reason or process behind the selection of candidates in the newly established competition section? Commissioner Jung noted, "The establishment of the competition section at 'BIFF' was designed after reflecting on the stagnation of competing sections like New Currents and Jiseok within the non-competitive film festival framework. It was created as a platform that considers value and capability. I can broadly speak of four categories for the entire competition section. One category includes recognized master directors like Jang Ryu, and another includes hot works like 'The Left-Handed Girl' created by Zhao Siqing. Additionally, there is another group of provocative works made by rookie directors. Surprisingly, the initial competition section has a balanced representation of female directors and rookie directors. Concerns about how to proceed with something new were inevitable, but I personally think we secured competitively superior world premiere works and recognized works with an Asian premiere."
He elaborated, "The significance lies in allowing rookie directors to shine their value through activities within a platform alongside capable individuals. There may be differences between selecting a director's film in Europe and selecting it at our film festival, which will filter in the perspective of 'BIFF.' I hope that the 14 works will showcase the trends, visions, and directions of contemporary Asian cinema, illustrating the path in which the best of Asia's films are flowing right now."
Can the 30th Busan International Film Festival leap forward despite the crisis in Korean cinema? The 30th Busan International Film Festival will take place from September 17 to 26 at the Busan Cinema Center.
[Photo] Provided by the Busan International Film Festival Executive Committee.
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