Pusan Film
          Festival (PIFF) Report.
           4 - 12 October 2007

Most of it takes place at the beach of Haundae; it is a gorgeous beach and you are kept wondering why no-one has mentioned that there is an amazing beach on your doorstep when you say you are going to the Pusan Film Festival. It is here where the likes of  Jeon Do-yeon (전도연), Kwak Gyeong-taek (곽경택) and numerous other key figures from the Korean film industry answered questions from the audience.

Crowds came far and wide to see Jeon Do-yeon and Kang Soo-yeon.

Since the festival is so big, it is difficult to know where to start in terms of reporting it to you. But first of all, I would like to say that all the staff at the festival were the most helpful members or staff I have ever come across and this is not an exaggeration!

One of the things that was impossible not to notice was the uncertainty in the Korean film industry during my stay. This was mainly in the media where there were more than a few hints that Korea has reached its peak and was therefore in the process of slowing down. Furthermore, most of the audiences present were Korean. In more than one of the Q&A’s I attended, there was barley a handful of non-Koreans.

However, you cannot fault PIFF for trying to do what it could for Korean cinema. At most of the screenings during the first few days, there were QV’s (guest visits). Therefore for anyone interested in Korean cinema, this was a dream that you never wanted to wake up from. It is no easy thing to get guests to come to screenings, let alone the cast & director to almost every Korean film screened in the Korean cinema programnme. But they managed it, seemingly with ease. Actress Song Hye-kyo (송혜교), actor Yoo Ji-tae (유지태) and director Jang Yoon-hyeon (장윤현) were present the screening of Hwang-jin-i (황진이) as was Lee Chang-dong (이창동)  & Jeon Do-yeon (전도연) for Secret Sunshine (밀양).  Han Jae-rim (한재림) answered some very interesting questions following the screening of The Show Must go on (우아한 세계) and the list goes on and on.

Actress Song Hye-kyo (송혜교), actor Yoo Ji-tae (유지태) and director Jang Yoon-hyeon (장윤현)

 Lee Myeong-se (이명세) with Lee Yeon-hee (이연희) & Kong Hyo-jin (공효진)

The only other unexpected problem was the Typhoon, which brought rain like I have never seen before – going out with an umbrella was completely useless! But, it couldn’t be helped and the team did everything they could do to minimise the impact of the great storm.

With regards to screenings, since there was so much going on, one of the great tragedies of the festival was that I was unable to see all the films I wanted to. However, that is not to say I didn’t see nothing. Because of time restraints, I am unable to review them, so I will give some brief thoughts.

Hwang Jin-Lee (황진이)
Director: Jang Yoon-hyeon (장윤현)

     

As some of you know it failed to be the box office hit CJ Entertainment were hoping for. With Song-Hye-go playing the lead in this famous adaptation, to say there was much to expect is an understatement. But, whilst it does look beautiful, the story is very shallow and to be honest I found it quite dull. Not quite sure what happened, especially given the cast and production team behind it, but one thing I am certain of, it was a disappointment.

* *

Breath (숨)
Director: Kim Ki-duk (김기덕)



Although Kim ki-duk said he would never make a film again following his remarks on Bong Joon-ho’s The Host, he made another film called Breath. Well, to many peoples surprise, this was not only his best film since Spring, Summer, Autumn, Winter and Spring, but is also showed he has mellowed out somewhat. Although he doesn’t refrain from including a scene at the end that is a little odd, on the whole it seems as is if he is having some fun. Beauitfully shot, excellent acting from the leads and a very compelling narrative are all key attributes to this rewarding film.

* * * *

The Show Must Go on (우아한 세계)
Director:  Han Jae-rim (한재림)




For me, this was the biggest surprise of the festival. I went in not expecting much from Han Jae-lim’s debut, partly because it didn’t really do well in Korea. However, in shear contrast to Hang-jin-lee, this is a highly enjoyable film, which is very sophisticated and extremely compelling with a terrific performance from Song Kang-ho. It reminded me of the The Godfather, so when asked I Han Jae-lim if there was anything that inspired him to make this film, when he responded with The Godfather, I was not very surprised, but it is great to see how a Korean director has taken a Hollywood film and modelled it to a Korean formula.

* * * *

Secret Sunshine (밀양)
Director:  Lee Chang-dong (이창동)



Well, this goes without saying.. This is truly a cinematic masterpiece. You can’t help but admire Lee Chang-dong for his courage as a filmmaker. Although, it is very long and frankly depressing, he uses cinema to portray the world as it is rather than trying to please audiences to sell tickets. With an award winning performance from Jeon Do-yeon and everything firmly in control, there is little to fault with this film. Song Kang-ho likewise, although somewhat overshadowed by Jeon Do-yeon, gives a performance that matches the calibre of the lead.

* * * * *

I asked Lee Chang-dong a question during the Q&A  - it is as follows:

I was wondering where the inspiration lies for the realism in your films and whether it stemmed from the Italian films of the 1940s.

"As for the inspiration for this film in particular, as many people know there is an original novel that this film is based on and this film is actually very different from the novel as well. There wasn't one specific reason that I chose to make this film; this is just a culmination of the things I have felt and experienced in my life. And as any director would probably tell you, most people don't recieve inspiration from one specific film or one specific genre - you talked about the Italian films of the 1940s, which were based on neo-realism  that actually started the trend of neo-realism, but I don't think my film was based on one specific film. But of course these films do provide a textbook in terms of the thoughts and grammar that go in to creating a film, but this did not have a direct influence on me making this film."



Beyond the Years (천년학)
Director: Im Kwon-taek (임권택)

 


With Im Kwon-taek’s 100th film, you have to take your hat off to him, or in Korean style, bow like crazy. At 71, it is easy to write off a director and with the funding problems of this latest film, perhaps there was an element of this. But, although it failed at the box office, it has got to be the most beautiful film I have seen in 2007.  Im Kwon-teak, in my view follows realism in a different way compared to the likes of Lee Chang-dong and exposes Korean culture not only to the international audience, but asks Koreans' not to forget their heritage. The flashback narrative is beautifully woven into the present and with faultless performances from the cast, this film doesn’t fail to meet the standard set by his critically acclaimed Sopyonje.   This film is a masterpiece – roll on his 101st film!

* * * * *

West 32nd
Director: Michael Kang

  

There was a great deal of buzz surrounding this film at PIFF  - a Korean American film set in New York with a well-known cast. I am still not sure where I stand with this film. To a small extent, it is compelling (for entertainment - nothing else) and reasonably well made. But, there is something clearly not right about this film; it almost feels as if there is a big chunk missing from the film. Furthermore, one of the main weaknesses of the film is the acting, which is terrible from start to finish. The director came on afterwards, and I wished that he had never came on at all. Although it was interesting to see what he had to say, he has a big ego problem. All in all, a fairly mediocre film.

* *

Obviously there are films that I have missed. One of the big films that was part of the festival was M, which has had a very mixed response from the critics. But a friend who came with me to Pusan, managed to see it and told me it was a terrific film, but for those who don’t like Lee Myeong-see style, it might be worth staying clear. Unfortunately I was unable to see Spare, Soo, The Old Garden, Paradise Murdered and drawing paper from the Korean cinema today and not to mention the films from the retrospective programme and of course the other programmes, which included Korean films.

All in all, the programme was very impressive – you can’t fault it. I would of liked to have seen May 18, which wasn’t being screened. Its sensitive political issue obviously wasn’t worth the risk and I would of liked to see a programme catered less for the International audience. But, it’s wrong to criticize a festival for appealing to an international audience.

It was also an experience to see how many people were queuing up to see films. People  started queuing up the night before and by 7am the line was about 200m long. Even for people with guest passes, if you were not up early enough, you would miss out and therefore it is unsurprising that there was a record number of admissions – 198,603 in total. There were 271 films in total from 64 countries including 65 world premieres and 26 international premières with a grand total of 770 screenings. The only minor problem was that if you were 1 minute late for the film, you would not be let in, but this is as much as good thing as a bad thing – it just needs good timekeeping, but I could see it being frustrating for some.

No Film festival would be complete without its awards. There were six awards that were awarded to films, which are listed below (Please click here for more information on each award and films in each category):
 
New Currents Award

Life Track directed by Guang Hao Jin (China/Korea)

Flower In The Pocket directed by Seng Tat Liew (Malaysia)

Wonderful Town directed by Aditya Assarat (Thailand)


FIPRESCI Award:

The Red Awn directed by Shuangjun Cai (China)

NETPAC Award:

Hello Stranger directed by Kim Dong-hyun (Korea)
With a Girl Of Black Soil directed by Jeon Soo-il (Korea)

KNN Audience Award

Flower In The Pocket by Seng Tat Liew (Malaysia)

Sonje Award

Woong’s Story by Lee Ha-Song (Korea)

A Man Under The influenza by Jung July (Korea)

Woonpa Award

Tear Drops by Mun Jeong-hyn (Korea)


This is chance to see new filmmakers make a break and it is good to see 6 awards to go to Korea, though it is unsurprising for so many awards to be given to the Korean films, but it good to see so many Korean films receiving awards.


Asian Film Market

As for the Asian Film market, which ran from Oct 15-18 at the Grand Hotel on Hyundai beach, there was not much selling going on, but from what I gather is was more of case of establishing and building on relationships, which potentially could result in sales at later festivals.  But the UK Film Council brought 7 companies, which was encouraging. In fact, the UK Film council signed a co-distribution agreement deal with KOFIC (Korean Film Council) that allows 2 Korean films to be distributed in the UK that will be supported by the UK Film Council. But there is some confusion as to how many films this may include. Last year saw the release of The Host, which had some support from the UK Film Council.  Unfortunately, no selling to any UK companies, but this agreement between the UK film council and KOFIC is certainly very encouraging.

Although no sales to the UK, Cineclick Asia had a good time selling titles to the Middle East, Hungry and Japan, which was headlined by Kim Ki-duk’s Breath, which was sold to the Middle East (Ghassan Production and Distribution) with 9 other films for TV/DVD rights. Breath is the first Korean film to be sold as a theatrical release to the Arab Regions. Other films that were sold include tiles such as Tale of Two Sisters and Family Ties.

Nettai Museum from Japan bought TV Rights from Ciniclick Asia for The Red Shoes and Acacia, The Wolf Returns and Mission: Sex Control. Cinitel from Turkey purchased DVD, TV and Video on Demand rights for Tuya’s Marriage, The Red Shoes, A Tale of Two Sisters and Samaritan Girl. 

CJ Entertainment also sold 4 films as part of a deal to Splendid Films for German speaking territories – these titles are the US/CJ Entertainment co-production, West 32nd Street, Black house, Wide Awake and Puzzle.

So hopefully, we will see more selling in markets such as Berlin and Cannes, which both have a heavy Korean presence. It is indeed disappointing to see less titles being sold, but there was a heavy attendance amongst distributors in Pusan and establishing and building relationships is an important as selling titles, so in that respect the Asian Film Market was very successful despite a lack of sales.

 Therefore in summary, whilst there are certainly areas where the festival can improve on  - it needs to be a little more organised in places and perhaps a down scaling, or at the very least no more expansion – PIFF 2007 was a very successful festival and is clearly evident why it has not only become the most influential film festival in Asia, but one of the most important film festivals in the world festival calendar. With more and more festivals coming on the world circuit, this is not only a major achievement, but also considering its very young history; it deserves more credit that it receives.