For my last column, I have decided to do something rather different and reflect on the past few months in the world of Korean cinema, which continues to be a vibrant and healthy industry with no fewer than 100 films released each year and admissions to local films surpassing 100 million annually since 2012. The market has now reached saturation point and the Korean studios such as CJ E&M and Lotte Cultureworks are now expanding into parts of Southeast Asia and further through their cinema chains in order to generate growth.

‘Along with the Gods’ breaks box office records

As I write, Kim Yong-hwa’s fantasy epic “Along with the Gods: The Last 49 Days” is looking to become one of the most successful Korean films of all time having smashed a number of box office records including biggest opening day (1.2 million) and weekend (3.8 million) just seven months after its concurrently shot predecessor, “Along with the Gods: The Two Worlds,” pulled in more 14 million viewers. A huge gamble for the studio Lotte, it turned their fortunes around in the film industry following a string of flops. Although not a big hit with critics, the two-part series is an example of how far the industry has come in delivering spectacle, not only for Korean audiences but viewers across Asia where the studios are increasing their presence.

‘Illang’ disappoints

One week before the release of “Along with the Gods,” Kim Jee-woon’s much anticipated and expensive science fiction action film set in a hypothetical future where North and South Korea are on the verge of reunification drew largely negative reactions from audiences and critics alike. As such, it became this summer’s box office flop and was pulled from most screens just seven days after it was released on July 25. I personally enjoyed it more than most, but I agree it’s not among Kim Jee-woon’s most accomplished pieces, which rank as some of the best genre films in contemporary Korean cinema.

‘Herstory’ surprises

Although not a box office hit, for me one of this year’s surprisingly good films was Min Kyu-dong’s “Herstory.” Min is a talented director, having co-written and co-directed “Momento Mori.” His other credits include “All About My Wife,” but his last film, “The Treacherous,” is frankly atrocious. His latest film is a return to form for Min. Dealing with comfort women — and more specifically, a challenging legal battle in the 1990s in Japan demanding an official apology from the Japanese government — it’s by far the best film to approach this subject. Restrained and yet powerful, it’s a superbly acted drama starring Kim Hee-ae and Kim Hae-sook.

‘Burning’ ignites Cannes jury grid record

When it comes to consistency, Lee Chang-dong delivers. His latest film is an example of that; another masterpiece from one of Korea’s most talented filmmakers. “Burning” is perplexing, nothing is what it seems as it focuses on a love triangle between two young men and a woman. Requiring multiple viewings, it explains, perhaps, why initial reaction in Korea was somewhat lukewarm. In Cannes, however, it broke Screen International’s jury grid record making it the best reviewed film at the festival.

Other films worthy of mention so far this year are Yim Soon-rye’s enchanting “Little Forest,” Jeon Go-woon’s whimsical drama “Mirohabitat” and Lee Hae-young’s explosive action thriller “Believer.”

Written by Jason Bechervaise

After a shaky start, Dexter Studios transforms the local VFX industry

One of the most notable box office disappointments of 2013 was “Mr. Go.” Budgeted at USD 18 million, the film about a gorilla with a knack for baseball generated a meagre USD 8.3 million in box office receipts locally, though it performed better in China, where it made USD 18 million. Still, the Korea-China co-production was seen as a huge risk that failed to pull in the masses and please investors, in part due to a misguided marketing campaign that failed to recognize its target audience. In truth, the film was not bad; the visual effects are, in fact, extraordinary, not least when compared to Hollywood films with budgets that allow for extensive post-production.

‘Mr. Go’ leads to birth of Dexter Studios

When “Mr. Go” was in its planning stages, no Korean visual effects company was equipped with the resources to render the necessary CGI, so the film’s director Kim Yong-hwa founded such a studio, Dexter Studios, now based in Seoul’s Digital Media City.  To say it has gone from strength to strength is probably an understatement. Over the last two years, almost any Korean production that required visual effects invariably featured Dexter in the credits. In China, the company has secured a number of deals for content including a USD 5.8 million contract with the Evergrande Group to provide video footage for their theme park. Dexter has increased its presence in the Chinese film industry with work on a number of visual effects-heavy films such as “The Tales of Wukong” and “The Monkey King 2.”

Hollywood is also taking notice with Marvel’s Stan Lee’s production company POW! Entertainment having been in talks last year with Kim Yong-hwa and Dexter to make a superhero film centred on fatherhood called “Prodigal.”

‘Along with the Gods’ solidifies Dexter as Korea’s leading VFX studio

Then at the end of last year, the hugely ambitious “Along with the Gods: The Two Worlds” was released. Dexter coproduced the film and did the extensive CGI under the direction of Kim Yong-hwa. Over 14 million people saw the film in the theater, making it the second most successful Korean film of all time. The film is the first part of a USD 40 million production that consists of two features, marking the first time two Korean films were shot concurrently.

The second part, “The Last 49 Days,” will be released on Aug. 1, during one of the busiest times of the year in cinemas. Few expect anything less than a box office hit, meaning the extremely risky gamble has paid off, putting Dexter in a very enviable position with success in the local market along with China. Hollywood is also taking an interest.

Unsurprisingly, Realize Pictures, one of the companies behind “Along with the Gods,” recently announced that two further installments are in the works along with spin-offs, following the franchise formula adopted by Marvel and other Hollywood giants.

Dexter enters the space race

But Dexter has even greater ambitions yet and has entered the space race with a number of directors expressing interest in making a Korean film set in space, including Kim Yong-hwa, with whom Dexter plans to helm “The Moon,” about a man trapped in space following an accident. Although it’s unclear whether the feature will materialize, given Dexter’s increasingly busy slate and similar projects such as JK Youn’s space-set “Return,” also in pre-production, it does illustrate how far Dexter has come in a relatively short space of time, transforming the local VFX industry.

Written by Jason Bechervaise
Images courtesy of Lotte Entertainment & Dexter Studios

There is certainly no shortage of film festivals in Korea, a reflection of the appetite locals have for their cinema. One event that stands out is the Bucheon International Fantastic Film Festival, otherwise known as BIFAN, which focuses on genre cinema. As such, it has a unique character with its interesting choice of programming that includes terrifying horror films and enthralling thrillers, giving audiences a chance to cool off during the unbearably hot and humid weather in mid-July.

‘Leafie, a Hen into the Wild’ collaborators return

This year the 22nd edition kicks off on July 12 with the world premiere of the local animation “The Underdog,” directed by Oh Sung-yun and Lee Chun-baek, their second collaboration following Oh’s “Leafie, a Hen into the Wild” (2011), the most successful Korean animation in history. The film centres on a group of dogs who search for “The Place,” where they are free from the threats of demolition and brutal dog hunters.

Commercial Korean genre films included in selection

There will be a total of 290 films from 53 different countries screening during the festival, consisting of 163 features and 127 shorts that include 60 world premieres. In terms of Korean cinema, the main strand dedicated to local films, entitled “Korean Fantastic,” is broken down into different sections. Taking prominence is the competition section, which consists of nine features including Cho Sung-kyu’s “Deep” and genre specialist Oh In-chun’s “The DMZ.”

A further seven features not part of the competition section includes Korean genres films released over the least year such as Jung Bum-sik’s surprise box office smash hit “Gonjiam: Haunted Asylum,” Yeon Sang-ho’s (“Train to Busan”) second feature “Psychokinesis” and Byun Sun-hyun’s noir thriller “The Merciless,” which premiered at the Cannes Film Festival last year.

Among the shorts include films from established filmmakers: Lee Kyoung-mi (“The Lady from 406”), Yim Phil-sung (“The Nest”), Lee Won-suk (“Lala Land”) and Kim Jong-kwan (“Unknown Woman,” “The Other Day”).

Jung Woo-sung spotlight and Korean film industry forums

Akin to last year’s edition, which included a special program dedicated to the films featuring the actress Jeon Do-yeon, this year the festival will showcase the work of the star actor Jung Woo-sung with 12 features ranging from Kim Sung-su’s “Beat” to more recent films including the noir thriller “Asura: The City of Madness,” the inter-Korean relations-themed action film “Steel Rain” and the Sewol ferry documentary “Intention,” which Jung narrated.  The program appears to be part of an effort to forge closer ties to the Korean film industry under the leadership of Choi Yong-bae, a renowned film producer (“The Host”).

Also part of this endeavor is the festival’s industry program that features forums focused on the Korean film industry including a science fiction writers showcase, a filmmakers’ workshop and a discussion on the issue of monopolization within the local film industry.

The festival this year will also organize a special event to celebrate 20 years of the local film distributor Indiestory, which specializes in Korean indie cinema. It will screen 14 of their films including the critically acclaimed “A Midsummer’s Fantasia” directed by Jang Kun-jae.

BIFAN takes place July 12–22.

More information is available from the festival’s website: www.bifan.kr/eng.

Written by Jason Bechervaise
Images courtesy of BIFAN

Of late, the relationship between South and North Korea has dominated the news wires both home and abroad, though not because of the escalation of tensions that many residents here are accustomed to. Rather, the opposite — the historic summit between South Korean leader Moon Jae-in and North Korean leader Kim Jong-un on April 27 signified a new beginning in inter-Korean relations. But given how quickly things have developed, it underscores the precarious relationship between the two countries along with the wider geopolitical forces involved — much of which has been reflected in Korean cinema.

Anti-communist films 

From the 1960s through to the 1980s while South Korea was under the autocratic rules of Park Chung-hee and Chun Doo-hwan, films depicting the North were largely anti-communist features. Securing financing and passing censorship was only possible if North Korean ideology was villainized with little room to humanize North Korean characters. Director Lee Man-hee was arrested in 1965 for the sympathetic way North Korean soldiers in “The Seven Female POWS” were conveyed; he was released only when he agreed to edit out the problematic scenes.

The turning point: ‘Shiri’ and ‘Joint Security Area’

The blockbuster “Shiri” (1999) was a turning point for the Korean industry as it emulated Hollywood tentpole features while tailoring them to local audiences through its backdrop: inter-Korean relations. Released a year after Kim Dae-jung became president, his administration seeking to improve the relationship with the North through his so-called “Sunshine Policy,” director Kang Je-gyu attempted to reflect the wider geopolitical climate rather than simply depicting the North Korean characters as communists.

Park Chan-wook’s “Joint Security Area” (2000), which hit screens more than a year later, took it a step further with South and North Korean soldiers interacting with each other, forming a friendship, unthinkable in films during the 1960s, ’70s and ’80s. The fact that these films were hugely successful, breaking box office records, reflects how the national sentiment in the films resonated with audiences.

Since then, inter-Korean relations has been tackled in a number of films, including “Welcome to Dongmakgol” (2005), “Secret Reunion” (2010), “The Berlin File” (2012) and more recently, “Steel Rain” (2017). While the relationship between the two countries is still conveyed as volatile, there is a continued emphasis on portraying North Korean characters as protagonists rather than merely depicting them as villains — though the government in North Korea and its ideology is typically portrayed as an enemy.

Upcoming features: ‘The Spy Gone North,’ ‘In-rang’ and ‘Take Point’

Going forward, it’s a particularly interesting time in how North-South Korean relations will be projected on screen with three major films dealing with the subject being released this year.

Yoon Jong-bin’s thriller “The Spy Gone North,” starring Hwang Jung-min as a South Korean spy sent to infiltrate the North in the 1990s to obtain evidence on their nuclear weapon plans, is set to be released this summer following its world premiere at the Cannes Film Festival.

Rather intriguingly and seemingly well-placed given current developments, Kim Jee-woon’s “In-rang,” which is based on the 1999 anime “Jin-roh: The Wolf Brigade” by Hiroyuki Okiura, is set in the future. South and North Korea have agreed to set up a unified government, and a task force is formed to counter terrorist opposition. Starring Gang Dong-won and Han Hyo-joo, the film should be released this summer.

Later on in the year, Kim Byung-woo’s “Take Point,” featuring Ha Jung-woo and Lee Sun-kyun, about a group of mercenaries who try to apprehend a high-profile North Korean official, is also to hit screens.

Given how rapidly developments on the peninsula are changing, it’s possible that some of these films might seem at odds with the current situation. But if relations are set to further improve in the long-term under Moon Jae-in’s administration, it’s likely that North Korea-themed narratives in South Korean features will also continue to evolve.

Written by Jason Bechervaise

Given the large numbers of viewers in Korea who visit their local multiplex during the four holiday seasons (Lunar New Year, summer, Chuseok and end-of-year), it’s important for the local studios to capitalize on these periods.

Since audiences of all ages watch films during these lucrative periods, it’s important the films attract a wide demographic, a major factor behind the success of “Along with the Gods.”

The upcoming Lunar New Year season (Feb. 15–17) looks to be a competitive one with four major studios releasing titles. These will go up against Marvel’s “Black Panther,” to be released on Feb. 14.

Psychokinesis

The first of the Lunar New Year releases, “Psychokinesis,” hit screens at the end of January. A studio will not release a film well ahead of a busy season unless they feel it can generate momentum once word gets out. Directed by Yeon Sang-ho (“Train to Busan”) and starring Ryu Seung-ryong and Shim Eun-kyung, it follows a man who sets out to help his daughter and those around him after acquiring superpowers.
Repeating the success of “Train to Busan” — the most successful Korean film overseas and a gargantuan box office hit locally — will be a challenge. But given the film has already been acquired by Netflix, only the domestic box office sales really matter at this point.

Detective K 3

The “Detective K” films have been strong performers for distributor Showbox during the Lunar New Year season. The first two films were box office hits directed by Kim Suk-yoon. His third film in the series, “Detective K: Secret of the Bloodsucking Demon,” sees the return of the famous Joseon detective, played by Kim Myung-min, and his sidekick, played by Oh Dal-su, who investigate a series of murders during a period of political uncertainty under King Jeongjo.

Age of the Rebellion

As period films have performed well during the Lunar New Year and Chuseok seasons, it’s unsurprising that Lotte Entertainment (behind the hit “Along with the Gods”) is also releasing one in the form of “Age of the Rebellion,” directed by Cho Keun-hyun (“26 Years”) and starring the late Kim Joo-hyuk, who died last year in a car accident.
The film, which like “Detective K” is set during the Joseon period, follows the author who becomes famous after penning a satirical play. The angry ruling elite seek his arrest, however, and the author finds himself leading an outright rebellion.

Golden Slumber

CJ Entertainment could have done with any number of titles for the holiday season, but chose the thriller “Golden Slumber,” based on the 2007 Japanese novel of the same name by Kotaro Isaska. Directed by Noh Dong-seok, the film follows a delivery man who is framed for the murder of a newly elected prime minister. It stars Gang Dong-won, widely praised for his small but pivotal role in the critically acclaimed film “1987: When the Day Comes.”
All these titles, however, will have to compete against an event taking place away from the multiplexes, the PyeongChang 2018 Olympic Winter Games. It remains to be seen whether this will have an impact on box office ticket sales.

Written by Jason Bechervaise

Trends in Korean cinema are nothing new. Thematically, Korean films are known for their revenge-driven narratives (“Oldboy”), while successful blockbusters are invariably tailored to Korean audiences through locally specific backdrops. In 2015 and 2016, for example, the colonial era was a dominant feature in a number of high profile films including “Assassination” and “The Age of Shadows.”

Inter-Korean relations

Looking ahead, there are a range of themes and genres to hit the multiplexes this year. One noticeable commonality is the theme of inter-Korean relations, which is interesting given how it continues to dominate local and international headlines. This year’s major releases tackling this topic include Yoon Jong-bin’s “Black Venus” starring Hwang Jung-min as a South Korean operative assigned to gather intel on North Korea’s nuclear ambitions, and “PMC” directed by Kim Byung-woo that features Ha Jung-woo as a military contractor tasked with rescuing a prisoner being held at an underground bunker during tense relations between South and North Korea.

Also bracing this subject but in the form of science fiction is Kim Jee-woon’s “Inrang,” a live-action adaptation of Oshii Mamoru’s anime “Jin-Roh: The Wolf Brigade.” Set in the near future, South and North Korea are to be reunified. Gang Dong-won plays an officer assigned to quell anti-unification terrorists.

The criminal underworld

Films that deal with the criminal underworld readily feature in the nation’s cinematic output. “A Bittersweet Life” and “New World” are merely two notable examples. This year, two crime films will tackle the subject of narcotics, a less common thematic trait found in Korean films. Woo Min-ho, whose “Inside Men” was a critical and commercial hit in 2016, is helming “Drug King” starring Song Kang-ho as a drug smuggler in Busan in the 1970s. Lee Hae-young’s “Drug War,” a remake of the 2013 Hong Kong crime thriller of the same name, about a detective played by Cho Jin-woong who goes undercover to catch the kingpin of a major drug cartel will also go on release in 2018.

Stock markets and the IMF crisis

The world of finance is set to appear in films over the coming year. Choi Kyung-hee’s “Sovereign Default” featuring Kim Hye-soo, Yoo Ah-in and French actor Vincent Cassel is set during the 1997 IMF crisis. “Money” starring Yoo Ji-tae and rising star Ryoo Joon-yeol about a stock market scam is also to hit screens this year.

Fantasy

The fantasy genre will also feature heavily with the release of the second part of the big budget “Along with the Gods” in the summer, and Yeon Sang-ho’s (“Train to Busan”) latest blockbuster “Psychokinesis” about a man who acquires superpowers will be released in time for the lunar new year. Zombies are also on horizon with the release of Kim Seong-hoon’s “Outbreak” set in the Joseon Dynasty.

Lee Chang-dong

Much smaller in scale, but among critics perhaps one of the most anticipated films, is Lee Chang-dong’s mystery thriller “Burning,” which is his first film since 2010 about the mysterious relationship between a couple and an arsonist.

Reflecting the breadth of Korean cinema, there is plenty of variety on offer this year.

Written by Jason Bechervaise

SEOUL film writer Jason Bechervaise reviews 2017

There is certainly a pattern when it comes to Korean films each year. Each year, the studios release their holiday season tentpoles; some perform well like “A Taxi Driver” did over the summer, while others disappoint such as “The Battleship Island.” Then you have the features that critics will embrace like Cho Hyun-hoon’s “Jane,” and of course there are the surprise hits, which includes “The Outlaws,” that pulled in over 6 million viewers in October. But this year has been somewhat unusual.

The big 2017 controversy: ‘Okja’ and Netflix

There are often controversies. The screen monopoly once again came to the forefront of media attention following the release of CJ Entertainment’s “The Battleship Island” on more than 2,000 screens, which contributed to its downfall – it saw a 72.5 percent drop on its second weekend – but 2017 arguably saw a bigger storm in the form of Bong Joon-ho’s “Okja” and Netflix.

Although VOD (video on demand) is a well-established platform in Korea, Netflix was seen by the local multiplexes as disrupting the ecosystem with its simultaneous release online and in cinemas. As a result, the major cinema chains in Korea refused to screen it, but it nevertheless accrued over 320,000 admissions from independent cinemas.

“Okja” was ultimately at the center of the cinemas vs. streaming debate that also caused chaos in Cannes this year, when some of those who attended the first press screening jeered as the Netflix logo appeared, and an untimely technical malfunction meant the screening was halted. Further adding to the complexities is whether to call it a Korean or U.S. film. In truth it is an international co-production, an example of how Bong is using the evolving landscape to tell his stories to audiences both locally and abroad.

Changes in political landscape felt in local film industry

Perhaps, however, what will characterize Korean cinema over the past year are the events in the political arena, which saw the liberal Moon Jae-in elected president in May following a gargantuan presidential scandal that brought down the conservative leader Park Geun-hye. This has been felt in the local film industry, and it is no coincidence that this year’s biggest hit was the 1980 Gwangju uprising-themed film “A Taxi Driver,” while political documentaries including “Our President” about the late president Roh Moo-hyun also performed well.

The documentary “Criminal Conspiracy,” directed by Choi Seung-ho, looks at alleged political interference at the nation’s public broadcasters KBS and MBC. It was also a hit with viewers when it was released in August. Looking ahead, this political trend is set to continue with Jang Joon-hwan’s “1987,” featuring a huge cast (Ha Jung-woo, Kim Yoon-suk, Gang Dong-won), to be released in December.

Tragic death of Kim Joo-hyuk

Unfortunately, what 2017 will also be remembered for is the sudden and tragic death of the actor Kim Joo-hyuk, who was killed in a car crash on Oct. 30 at the age of 45. He was widely respected by his peers in the industry not just as a talented actor, evident in films such as “Yourself and Yours” and “The Truth Beneath,” but as someone whom many enjoyed working with. As such, the industry was in complete shock when the news broke, and many took to social media to express their disbelief that such a well-regarded actor is no longer with us.

Written by Jason Bechervaise

In Korean cinema, there are leading actors and supporting actors. Talent who take on leading roles such as Song Kang-ho, Hwang Jung-min and Choi Min-sik have become A-list stars, while those renowned for their supporting roles such as Oh Dal-su and Yoo Hae-jin have also found considerable fame.

Supporting actors take on leading roles

What is interesting but not unexpected is how these established character actors are seeking leading roles. Yoo Hae-jin starred in the comedy smash-hit “Luck-Key” (2016), while Oh Dal-su featured as a lead in “The Great Actor” (2016). This, of course, is not new, with figures such as Song Kang-ho and Hwang Jung-min taking on supporting roles in their earlier years, but these stars took on leading parts much sooner.

Ma Dong-seok (aka Don Lee), who began his career playing supporting roles in films such as “Heaven’s Soldiers” (2005), “The Perfect Game” (2011) and “Nameless Gangster” (2012), has gradually been taking on more considerable roles, often in independent films such as Kim Ki-duk’s “One on One” (2014). The turning point in his career, however, was his role in Yeon Sang-ho’s “Train to Busan” (2016) as a working-class hero who punched his way through a Busan-bound KTX full of flesh-eating zombies. His powerful physique and background in personal training in the U.S. have put him in a position where he’s not only seen as a leading figure, but as a robust action hero.

Korea’s latest action hero

His action hero status was solidified following Ma’s thoroughly enjoyable performance in the Chuseok box office hit “The Outlaws,” in which he plays a hard-boiled detective tasked with keeping the peace in his local neighborhood. This proves difficult, however, when a ruthless Chinese-Korean gangster seeks control of the local area. Reminiscent of 1980s and 1990s Hollywood action films starring such as actors as Steven Seagal and Arnold Schwarzenegger, while also sharing similarities to the local box office hit “Veteran,” the comedic “The Outlaws” is also a vehicle for Ma to flex his muscles, quite literally, as he becomes Korea’s latest in-demand action hero.

Over the years, there have been a number of action heroes in Korean cinema. Hwang Jung-min proved to be an excellent lead in “Veteran,” and Won Bin was impressive in “The Man from Nowhere,” while Gong Yoo took on a Jason Bourne-esque character in “The Suspect.” But Ma Dong-suk’s build and persona differentiate him from his peers.

Busy and in demand

But it’s not just action heroes Ma is playing. His next film released this month, “The Bros,” is a comedy about two brothers who get involved in a hit-and-run accident. It was recently announced that he is to star in the arm-wrestling drama “Champion,” while the extremely busy actor also has leading roles in the fantasy film “Wonderful Life” and the heart-warming drama “Gomtaengi,” starring Kim Sae-ron.

Written by Jason Bechervaise

‘A Taxi Driver’

For cinephiles and fans of Korean cinema, the Busan International Film Festival (BIFF) is a must-attend event as it screens a number of new and recent commercial and independent Korean films with English subtitles. Indeed, it is no coincidence that the growth of the festival – it’s now one of the biggest and most prestigious film events in Asia – correlates with the extraordinary rise of the Korean film industry over the past twenty years. The festival is now in its 22nd year and has seen the industry go from strength to strength to become one of the most vibrant national cinemas in Asia.

Noteworthy Busan discoveries

Over the years, the festival has premiered or screened notable films such as Kim Ki-duk’s feature debut “Crocodile” at the festival’s inaugural edition in 1996, Lee Chang-dong’s lauded sophomore feature “A Pepppermint Candy” as its opening film in 1999, and “Breathless” by Yang Ik-june in 2008, along with a host of other features.
Korean films that premiere in Busan sometimes find further exposure at major festivals in Europe, which is a huge achievement for a filmmaker like Kim Dae-hwan whose first feature “End of Winter” had its international premiere at the Berlin Film Festival in 2015. Programmers, therefore, invariably attend Busan in search for the next breakout independent Korean film.

‘Glass Garden’

Busan opens with mystery drama ‘Glass Garden’

This year, the festival opens with Shin Su-won’s “Glass Garden,” starring Moon Geun-young, who plays a scientist studying artificial blood, while a novelist (Kim Tae-hoon) writes a story as he spies on her. A secret is unveiled when the book is published. Shin, a former school teacher, attracted attention in Busan in 2014 with her well-received film “Pluto,” while her previous film “Madonna” bowed in Cannes in 2015.

‘Romans 8:37’

What to look out for in 22nd edition

Other independent films to look out for in Busan this year include Lee Dong-eun’s “Mothers,” featuring popular actress Im Soo-jung as a young widow living with her late husband’s teenage son; Shin Yeon-sick’s “Romans 8:37,” about the Korean church; Lee Kwang-kuk’s new film “A Tiger in Winter”; and O Muel’s “Mermaid,” about a former national synchronized swimmer, set on Jeju island. These are all potential noteworthy projects.
Lee Dong-eun’s feature debut “In Between Seasons” premiered in the festival’s New Currents section last year and Shin Yeon-shick is one of Korea’s most talented screenwriters (“Dong-ju”), while Lee Kwang-guk’s “Romance Joe” and “A Matter of Interpretation” both attracted critical praise in Busan in 2011 and 2014, respectively.  O Muel’s “Jiseul,” which premiered in Busan in 2012, went on to win the World Cinema Dramatic Grand Prize at the Sundance film festival.
In terms of commercial films, the festival will screen the director’s cut of “The Battleship Island” by Korea’s action-maverick auteur Ryoo Seung-wan that was released in July. Jang Hoon’s box office smash hit “A Taxi Driver” featuring Korea’s top draw actor Song Kang-ho will also greet Busan audiences, while other titles include Lee Soo-youn’s psychological thriller “Bluebeard” and Bong Joon-ho’s “Okja.”
Many of the talent involved in these films attend BIFF, so it is an opportunity to see some of the faces that regularly appear in Korean films and those who are behind the camera. The festival runs October 12–21.

Written by Jason Bechervaise