May 16, 2017December 31, 2017

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Top 10 Korean Films of 2016

Slightly later than originally intended (!), Hanguk Yeonghwa’s analysis of Korean cinema in 2016 is finally here.

2016 was quite a year for K-cinema, and a noticeable improvement over 2015 in terms of consistency and quality. This was largely due to the return of celebrated auteurs Park Chan-wook, Kim Jee-woon and Na Hong-jin in the mainstream, while in the ever-reliable independent realm a selection of poignant and lovingly crafted films were released to much acclaim.

The release of such tentpole genre offerings meant that, ‘South Korean film industry exports increased by 82% to total $101m in 2016, according to an analysis report from the Korean Film Council (KOFIC)’ (Jean Noh; Screen Daily).

However while there were certainly events to celebrate, the K-film industry still suffered from the same criticisms that have been circulating for the past few years. Despite the increase in production values, the narratives are often formulaic and repetitive, resulting in, ‘Movie audiences have dwindled for the first time in seven years […] [o]nly one Korean film, the zombie extravaganza “Train to Busan,” managed to draw more than 10 million viewers’ (Lee Tae-hoon; The Chosun Ilbo).

From the Korean Film Council’s ‘Korean Film Report 2016’

The Korean film industry was also rocked by the news, ‘over allegations that [former] president Park Geun-hye’s office created a blacklist of artists to be denied government support’ (Jean Noh; Screen Daily), which ‘contained some of South Korea’s most beloved filmmakers, actors and writers, including the director of “Oldboy,” Park Chan-wook, and the “Snowpiercer” actor Song Kang-ho’ (Choe Sang-hun; The New York Times).

As such, 2016 has been a particularly tumultuous year for the Korean cinema industry, yet for film fans there was much to enjoy. Here are Hanguk Yeonghwa’s Top Ten Korean Films of 2016 – click on the link to begin.

Top 10 Films of 2016 – Intro – No. 10~6 – No. 5~2 – No. 1

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Top 10 Korean Films of 2015

Top 10 Korean Films of 2014 – Most Memorable Moments of 2014

Top 10 Korean Films of 2013 – Most Memorable Moments of 2013

Film News

July 3, 2016January 27, 2017

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Bucheon Fantastic Film Festival 2016 – Hot Picks

The Bucheon International Fantastic Film Festival (BiFan) is preparing for a spectacular 20th anniversary edition. Running for 10 days from July 21st ~31st, and under new management in the form of newly appointment festival director Choi Yongbae (producer of The Host, 26 Years, and more), BiFan’s lineup looks stronger than ever. With a host of new programs alongside the mainstay Bucheon Choice competition category, including tributes to the late David Bowie and Japanese film maestro Nakashoma Tetsuya, as well as 20 Years, 20 Favorites (popular genre films) and Best of Asia (3 recently acclaimed films from East Asian countries), BiFan 2016 looks set to be an incredible filmic extravaganza.

Amongst the score of great international titles to be screened are some quality Korean films that are sure to delight cineastes and casual cinema-goers alike. Here are Hanguk Yeonghwa’s top 5 Korean picks for BiFan 2016.

Seoul Station (서울역)

Seoul Station

Closing BiFan will be director Yeon Sang-ho’s animated horror Seoul Station. The prequel to the acclaimed Train To Busan (which premiered at Cannes and is also released on July 20th in Korea), Seoul Station depicts a zombie outbreak that occurs in the Korean capital and the horrific fallout as the locals try to survive. Director Yeon previously helmed The Fake and King of Pigs, both of which contained dark social critiques of contemporary Korean culture laced throughout their respective narratives, and Seoul Station looks set to do the same with the themes of zombification and fear.

The Wailing (곡성)

The Wailing

Director Na Hong-jin’s return to cinema screens has been heralded by many as the best Korean film in years and a return to form for the thriller genre. Such mighty praise is supported by the rapturous reception the film received at its premiere in Cannes as well as grossing over $48 million at the Korean box office. The film centres around the bizarre goings-on in a remote village in Gokseong, where a series of macabre events stun the local populace. This will be the first time The Wailing will play with English subtitles in Korea, and is an absolute must-see.

Inside Men (내부자들)

Inside Men

Gangster noir Inside Men was a surprise sleeper hit last year at the Korean box office, so much so that a 3 hour director’s cut was released around the same time to much acclaim. The film is also a welcome return to form for superstar Lee Byung-hun, who plays a criminal enforcing the will of media moguls and politicians – until he is ruthlessly betrayed and returns seeking revenge.

Karaoke Crazies (중독노래방)

Karaoke Crazies

Director Kim Sang-chan’s zany genre miss-mash about a karaoke bar striving for success has already been quite prolific on the international festival circuit, having premiered at SXSW before screening at Toronto, Edinburgh, and many more. Wacky, eccentric and colourful, Karaoke Crazies is one of those rare offerings that is guaranteed to have audiences talking.

Who Killed Kim Kwang-seok? (일어나, 김광석)

Who Killed Kim Kwang-seok?

Legendary folk singer and activist Kim Kwang-seok tragically committed suicide in 1996…or did he? Director Lee Sang-ho (The Truth Shall Not Sink With Sewol) explores the controversies and conspiracies surrounding the great musician in his latest documentary.

Best of the Rest

Veteran (베테랑)

Assassination (암살)

Bedevilled (김복남 살인사건의 전말)

Save the Green Planet (지구를 지켜라!)

The Chaser (추격자)

Insane (날,보러와요)

Thanks to new program Best of Asia, audiences will have a chance to see recent Korean hits Veteran and Assassination, both of which featured in our Top Ten of 2015. Meanwhile 20 Years, 20 Favourites presents 3 classic Korean films in the form of Bedevilled, Save the Green Planet, and The Chaser, all of which are highly recommended. Rounding out the selection here is thriller Insane which performed well upon release earlier this year.

For more information, including screening schedules and the full line-up of titles to be screened, please head over to the official BiFan website here.

Festival News Korean Film Festivals 2016

May 19, 2016May 16, 2017

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4th Place (4등) – ★★☆☆☆

4th Place (4등)

Youngster Joon-ho (Yoo Jae-sang (유재상) loves to be in the water and has a real talent for swimming, yet for some reason he always places fourth in competitions. Furious at her son’s lack of improvement despite her constant scolding, Joon-ho’s mother (Lee Hang-na (이항나) seeks out a renowned swimming coach with terrible reputation – former olympic hopeful Gwang-soo (Park Hae-joon (박해준). As Joon-ho’s training commences, coach Gwang-soo’s methods become increasingly violent, revealing the extremes taken and endured in such a competitive culture.

Joon-ho adores swimming and is mesmirised by the nature of light and water

Produced in conjunction with the National Human Rights Commission of Korea, 4th Place is a potent exploration of the extremely competitive education culture that exists within Asia. Studies routinely reveal that Korean children are amongst the unhappiest in the world with shocking levels of suicide, due the incredible stress heaped upon them by strict parents and teachers, and as such director Jeong Ji-woo deserves respect merely for broaching the issue on film.

Director Jeong examines the issue through Joon-ho, a youngster who deeply enjoys swimming yet is incessantly berated and belittled by his shrill mother for not taking the sport more competitively. The manner in which she psychologically torments her son is equal parts horrifying and infuriating to behold, as she manipulates Joon-ho into equating his lack of success as a lack of love for her, initiating deep internalised guilt. Through her machinations at church – which director Jeong subtly insinuates as a place of corruption – she finds a coach for Joon-ho, one who verbally and physically abuses the youngster. Parallels are clear with the exceptional drama Whiplash, and while 4th Place never reaches those heights it deserves commendation for tackling such a vital societal issue.

Joon-ho’s training often includes bouts of violence and verbal abuse by the coach

Visually, 4th Place is beautifully shot during the swimming scenes. The lighting and lenses used serve to create a world of majesty and elegance under the water, a place where Joon-ho can escape and find enjoyment in solitude. Such sequences wonderfully convey the youngster’s love of swimming and the freedom it brings, as he gracefully glides through the water as if it’s his natural state of being. Yet such cinematic stylisation rarely extends beyond the arena of the pool however, with director Jeong’s more sophisticated dramatic techniques as employed in prior films Eungyo (A Muse) and Happy End sadly missing during scenes of family conflict.

The dramatic tension is also undermined by the lack of a central figure. Whiplash is a phenomenal film largely due to Miles Teller’s central performance from a mild-mannered to psychologically unhinged student, yet in 4th Place acting duties are generally shared equally among the cast resulting in a lack of singular perspective and characters that are largely one-dimensional. Perhaps worryingly, the most developed member of the film is the violent coach due to (an overly long) prelude that simultaneously infers the circular nature of corporal punishment and generates sympathy for him – arguably more so than young victim Joon-ho. In more adept hands the emotional complexity of the mother and coach could shine through despite the script’s shortcomings, though Lee Hang-na and Park Hae-joon are unfortunately not up to the task as they over-exaggerate their respective performances.

Nevertheless the story is a timely and important one, with the film’s finale one of the most creative and enjoyable sequences witnessed in Korean independent cinema in quite some time.

Follwing physical abuse and family strife, Joon-ho must decide his future

Verdict:

Co-produced with the Korean Human Rights Commission, 4th Place is a powerful reminder of the brutal nature of Korea’s competitive educational system, and the inordinate abuse applied by authority figures toward students. Director Jeong Ji-woo explores the issue well and is particularly impressive during swimming sequences, resulting in a timely film that deserves commendation for tackling important and challenging subject matter.

★★☆☆☆

Busan International Film Festival (20회 부산국제영화제) Korean Film Festivals 2015 Reviews

April 3, 2016January 27, 2017

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Jeonju Film Festival 2016 – Hot Picks

JIFF 2016

As Korea’s primary showcase for independent cinema, the Jeonju International Film Festival always has a surprise or two waiting for cineastes in the film line-up.

Running from April 28th ~ May 7th, and now in its 17th year, JIFF’s priority in debuting new filmmaking talent from the peninsula is simultaneously exciting as well as difficult to pin down emerging talent, making discoveries of potential break out stars even more thrilling to uncover.

While it’s certainly challenging to select possible highlights at such an early stage, there are a few clues and rumours that point to potentially memorable cinematic works.

Here are Hanguk Yeonghwa’s hot picks for JIFF 2016.

Spy Nation (자백) – director Choi Seungho (최승호)

Spy Nation

Spy Nation is without a doubt one of the most controversial films to appear at JIFF this year. Directed by former professional journalist Choi Seungho, the documentary explores alleged corruption in the upper echelons of the Korean government and the national spy agency, accusations that the mainstream media has largely ignored. Spy Nation has the potential to cause outcry on a similar scale as the Sewol documentary at Busan Film Festival in 2014, and is a must-see for those with an interest in Korean culture and K-cinema.

Seven Years – Journalism without Journalist (7년-그들이 없는 언론) – director Kim Jinhyuk (김진혁)

Seven Years

JIFF’s other highly controversial documentary, Seven Years examines the situations that have led to the firing of 17 journalists since former President Lee Myung-bak’s time in office began. Director Kim Jinhyuk details their fight to expose the activities of big corporations and press censorship in Korea, as well as the future of investigative journalism in the peninsula.

Worst Woman (최악의 여자) – director Kim Jongkwan (김종관)

Worst Woman

It’s always a gamble to select films from the Korean Competition as they are from first time filmmakers, however Worst Woman stands out for one reason – Han Ye-ri. Han Ye-ri is a highly talented actress as her turn in Sea Fog can attest, and her decision to star in this film as a woman in considerable trouble who befriends a sensitive author is reason enough to check it out.

A Stray Goat (눈발) – director Cho Jaemin (조재민)

A Stray Goat

One of the Jeonju Project films (the other is below), A Stray Goat has already garnered attention in Korea due to Got7’s Junior (real name Park Jinyoung) starring role. Alongside Ji-woo (Cart, Fists of Legend), the duo portray youngsters who form a deep bond due to the verbal and physical abuse they suffer, in a world that shuns them into the margins of society.

Woo-Joo’s Christmas (우주의 크리스마스) – director Kim Kyunghyung (김경형)

Woo-joo’s Christmas

Director Kim Kyunghyung, known for his wit in hit films My Tutor Friend (2003) and Liar (2004) returns to the big screen with Woo-joo’s Christmas. The story follows Woo-joo and her daughter who move to a small town to open a cafe, where they experience odd coincidences with the women who already live there. As modern cinema is so dominated by male-centered stories, Woo-joo’s Christmas has the potential to be a genuinely refreshing experience.

Old Days (올드 데이즈) – director Han Sun-hee (한선희)

Old Boy

Another documentary makes the list, this time in the form of celebrating arguably the most internationally recognised Korean film of all time – Park Chan-wook’s Old Boy. Director Han Sun-hee compiles footage of the film’s enormous success alongside interviews with director Park, the cast, and crew, as they recount the phenomenal achievements Old Boy amassed and why the film stands the test of time. A must for Korean film fans.

Great Patrioteers (우리 손자 베스트) – director Kim Soohyun (김수현)

Great Patrioteers

The second K-film in the Jeonju Cinema Project is by director Kim Soohyun, the talent behind queer film Life is Peachy (aka Ashamed) and So Cute. He returns with black comedy Great Patrioteers, about a wayward young ‘keyboard warrior’ and a right-wing senior citizen who form an unlikely relationship under odd circumstances.

Curtain Call (커튼콜) – director Ryu Hoon (류훈)

Curtain Call

Curtain Call is another gamble for this list, as it’s a K-competition film from debut director Ryu Hoon. However the premise, in which a once aspiring director who now makes erotic plays gets a second chance to create something of artistic merit, combined with a cast of reliable and experienced Korean actors, could result in a surprisingly entertaining comedy-drama.

Kai (카이: 거울 호수의 전설) – director Lee Sung-gang (이성강)

Kai

Korean animation has been making great gains in recent years, and director Lee Sung-gang’s Kai looks set to continue the trend as the stills look absolutely gorgeous. The film follows Kai, a youngster who is tasked with saving his village from Snow Queen Hattan who has covered the area in ice. Parallels to Disney’s Frozen are likely, but the images released indicate that Kai will be a uniquely Korean offering and possibly one of the more popular outdoor screening events.

For more information, please visit the official Jeonju Film Festival website here.

17th Jeonju International Film Festival (제17회 전주국제영화제) Festival News Korean Film Festivals 2016

March 11, 2016January 27, 2017

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17th Jeonju Film Festival Unveils K-Competition Line-up

JIFF Official 2016 Poster

The 17th Jeonju International Film Festival is due to take place from April 28th ~ May 7th.

Now in its 17th edition, the city has become synonymous not only for the best bibimbap in Korea and delightful hanok village, but as the launchpad of Korean independent cinema.

Several K-films that debuted last year at JIFF have gone on to great success on both the festival and commercials circuits, notably Korean Film Competition Grand Prize winner Alice in Earnestland.

2016 is sure to feature further break-out productions from the industry, and while information is still currently thin on the ground JIFF recently unveiled the K-film titles in both the Korean Film Competition and Korean Short Film Competition.

Please see below for the films to be screened alongside select stills. For further information, please follow the link at the end of the article.

Korean Film Competition

1. No Preparation for Old Age (노후 대책 없다) – Director Lee Dong-woo (이동우) | 101min

Delta Boys

2. Delta Boys (델타 보이즈) – Director Go Bong-su (고봉수) | 126min

3. B Mrs.B. A North Korean Woman (마담) – Director Yoon Jae-jo (윤재호) | 72min

4. Breathing Underwater (물숨) – Director Go Hee-yeong (고희영) | 91min

Our Love Story

5. Our Love Story (연애담) – Director Lee Hyeon-ju (이현주) | 99min

6. With or Without You (우리 연애의 이력) – Director Jo Seong-eun (조성은) | 99min

7. A Field Day (운동회) – Director Kim Jin-tae (김진태) | 75min

Worst Woman

8. Worst Woman (최악의 여자) – Director Kim Jong-gwan (김종관) | 94min

9. Curtain Call (커튼콜) – Director Ryu Hoon (류훈) | 100min

10. Press (프레스) – Director Choi Jeong-min (최정민) | 95min

Korean Short Film Competition

1) Knocking on the Door of Your Heart (가슴의 문을 두드려도) – Director Choi Yoon-tae (최윤태) | 28min

2) May Okay (날 좋은 날) – Director Jeong Tae-wan (정태완) | 10min

3) Joke (농담) – Director Jeong Ji-yeong (정지영) | 12min

Zoo

4) Zoo (동물원) – Director Kim Sae-hyeon (김세현) | 21min

5) The Game of All (모두의 게임) – Director Jo Ye-seul (조예슬) | 10min

6) Body and Soul (몸과 마음) – Director Jang Eun-ju (장은주) | 11min

7) Soar (비상) – Director Hong Sang-yu (홍상유) | 10min

8) Alone in the Rain (빗속을 혼자서) – Director Kim Ga-ryeong (김가령) | 18min

9) Deer Flower (사슴꽃) – Director Kim Gang-min (김강민) | 8min

10) Silent Boy (사일런트 보이) – Director Bak Geun-yeong (박근영) | 29min

11) Cyclical Night (순환하는 밤) – Director Baek Jong-gwan (백종관) | 15min

12) See You Tomorrow (씨유투머로우) – Byeon Seung-min (변승민) | 22min

Before I Grow Up

13) Before I Grow Up (어른이 되기 전에) – Director Lee Joon-seub (이준섭) | 25min

14) Summer Night (여름밤) – Director Lee Ji-won (이지원) | 25min

15) The Astronauts (우주비행사들) – Director Son Gyeong-soo (손경수) | 14min

16) A Landscape between Past and Future (적막의 경관) – Director Oh Min-wook (오민욱) | 20min

17) Breathless (질식) – Director Bak Joon-seok (박준석) | 14min

18) A Tent (천막) – Director Lee Ran-hee (이란희) | 30min

Fly

19) Fly (플라이) – Director Im Yeon-jeong (임연정) | 28min

20) Hamster (햄스터) – Director Kim Sae-in (김세인) | 29min

21) The Woman Who was Planted in a Pot (화분에 심어진 여자) – Director Lee Jeong-woo (이정우) | 18min

For more information, please follow the link here.

Festival News

January 2, 2016May 19, 2016

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Jan 2016 – K-Film Preview

January 7th

Remember You (나를 잊지 말아요)

Director: Lee Yoon-jung

Cast: Jeong Woo-sung, Kim Ha-neul

Distributor: CJ Entertainment

Synopsis: When Seok-won loses the past 10 years of his memory due to an accident, he struggles to piece together his existence and discover the life he once had. However upon meeting Jin-young his memories start to return as love blossoms between them.

The Lowdown: Director Lee Yoon-jung developed Remember You from her celebrated short film Remember O Goddess, initially turning to kickstarter to generate funding before superstar Jeong Woo-sung – whom became friends with director Lee while she worked as a script supervisor on The Good, The Bad, The Weird – came on board as both producer and actor. After around two years of production, Remember You is finally being released alongside a significant advertising campaign from distributors CJ.

Catch Him to Survive (잡아야 산다)

Director: Oh In-chun

Cast: Kim Seung-woo, Kim Jeong-tae

Distributor: OPUS Pictures

Synopsis: When two friends – one a CEO and the other a police officer – have their phone and gun taken by a group of high school delinquents, they must work together to track down the thieves and recover their stolen goods.

The lowdown: Action-comedy Catch Him to Survive seems quite a departure for director Oh In-chun, who previously impressed with horror-drama Mourning Grave. Judging from the trailer (see below) the film looks set to be a madcap caper with promising chemistry from veteran leads Kim Seung-woo and Kim Jeong-tae (who, ironically, was originally cast in Remember You [see above] before leaving the project due to scheduling conflicts). Catch Him to Survive also marks the big screen debut for four young actors, including Hyuk from Kpop band VIXX.

January 14th

Mood of the Day (그날의 분위기)

Director: Jo Kyu-jang

Cast: Moon Chae-won, Yoo Yeon-seok

Distributor: Showbox

Synopsis: While on a business trip to Busan, Soo-jung meets lothario Jae-hyun and is instantly repulsed by his suggestion of spending the night together. However when the journey doesn’t go according to plan they are forced to travel together, and the duo find themselves becoming close.

The lowdown: Mood of the Day is another romantic outing for stars Moon Chae-won and Yoo Yeon-seok, who dabbled with the genre in last year’s Love Forecast and Beauty Inside, respectively. Their collaboration appears to be quite a comical take on modern relationships, and it will be interesting to see if director Jo Kyu-jang can avoid the cliches and offer something fresh for audiences.

January

Robot, Sori (로봇, 소리)

Director: Lee Ho-jae

Cast: Lee Sung-min, Lee Hee-joon, Lee Honey, Chae Soo-bin

Distributor: Lotte Entertainment

Synopsis: Tragically, Hae-gwan lost his daughter 10 years ago although he refuses to give up on finding the youngster again. Unbeknownst to the distraught father is that an AI satellite with voice-recognition capabilities is circling the globe, and upon crash landing in Korea, helps Hae-gwan to be reunited with his daughter.

The lowdown: With a narrative that is particularly reminiscent of animated tale Satellite Girl and Milk Cow, Robot Sori looks set to be a heart-warming family sci-fi drama. Lee Sung-min has starred in a staggering number of films and TV drama series since his debut, though his star power increased dramatically following his turn in hit TV show Missing, resulting in his lead role in Robot Sori.

A Melody to Remember (오빠 생각)

Director: Lee Han

Cast: Siwan, Ko Ah-sung

Distributor: Next World Entertainment

Synopsis: As war ravages Korea during the early 1950s, Second Lieutenant Han Sang-Yeol discovers a village while leading his platoon. Moved by the children of the village who have lost everything, Sang-yeol vows to protect them.

The lowdown: Director Lee Han is back in cinemas after helming impressive family dramas Punch and Thread of Lies, though this outing sees the filmmaker tackling war as a major component. Featuring Siwan, whose star power is steadily rising following roles in The Attorney and TV drama Misaeng, A Melody to Remember – or more literally translated as Thinking of my Older Brother – looks to be a war-era tear-jerker.

Film News

December 29, 2015May 11, 2017

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Top Ten Korean Films of 2015

As 2015 draws to a close, it’s the perfect time to review the highs and lows the Korean film industry experienced over the past 12 months.

As the final figures roll in it’s clear that, commercially speaking, 2015 has been a stellar year with much to celebrate. In early December the Korean Film Council announced admissions had hit over 200 million whilst stating total sales of over KRW 1.58 trillion (USD 1.34 billion); two films achieved over 10 million admissions, while six now feature in the top 50 highest grossing Korean film of all time (source: KoBiz). Furthermore, the year still isn’t over as the figures for Himalaya, The Tiger, and The Joseon Magician still haven’t been finalised and look set to add more gains to already impressive figures.

However in terms of quality output 2015 was an especially weak year for Korean cinema. In Hanguk Yeonghwa’s review of 2014 I stated the year had been a lackluster one for K-film and, as much as it pains me to say it, 2015 was worse.

Gangnam Blues (강남 1970)

In fact, the first six months of 2015 were so woeful for the industry that media outlets were forced to acknowledge that, “only 40.7 percent, or 35.46 million cinemagoers saw a Korean film this year, a record low since statistics began in 2004.” (source: Chosun Ilbo, June 19). Many spectators blamed the low attendance on the dominance of big Hollywood films including Avengers: Age of Ultron and Jurassic World, yet critics were also keen to point out that while production values in K-films were significantly improving, Korean output was generally becoming increasingly generic and made for profit which turned local audiences towards international fare.

The year began with the continued dominance of historical epic Ode to My Father, which ultimately went on to become the second highest grossing film in K-cinema history. While critics were upset with the film’s continued presence in multiplexes, there also weren’t any strong new releases to topple it as despite a slew of high profile titles appearing in cinemas from January to June – including Gangnam Blues, C’est Si Bon, Detective K 2, Empire of Lust, Twenty, The Treacherous, The Silenced and many more – they were met largely with audience indifference.

Coin Locker Girl (차이나타운)

During this period however, K-cinema saw international success as four titles – Coin Locker Girl, The Shameless, Madonna and Office – were selected to represent Korea at the Cannes International Film Festival in May. While their selection is cause to celebrate, these films too were met with a muted response by critics and audiences alike when released across the peninsula, although Coin Locker Girl notably exceeded expectations.

Thankfully, the doom and gloom was lifted in summer. The release of uber-patriotic Northern Limit Line in June was a big success hauling $38.9 million, while a month later ever-reliable director Choi Dong-hoon’s blockbuster Assassination scored over $84 million to become the filmmaker’s biggest ever opening, and currently sits comfortably in seventh place on the list of highest grossing Koreans films of all time. Expectations of the spy-thriller’s longevity turned out to be somewhat exaggerated however as a week later Tom Cruise vehicle Mission Impossible 5 went straight to the top spot, but early August saw the release of Ryoo Seung-wan’s Veteran which became a huge hit with audiences and, thanks to positive word of mouth, surpassed predictions to scoop up the lion’s share of audience revenue to become the biggest film of the year and the third biggest film in K-cinema history securing $89.8 million.

The Himalayas (히말라야)

Such positivity was continued in November as The Priests and Inside Men defied predictions and became sleeper hits with $36.2 million and $46.8 million, respectively, and helped to propel actor Lee Byung-hun back into some positive limelight.

December saw The Himalayas and The Tiger appear in cinemas a day before Star Wars: The Force Awakens. The face-off was widely publicised as a victory for the Korean Wave as, “The Himalayas grossed $8.7 million from Thursday to Sunday, topping The Force Awakens‘ $7.9 million performance over the same period” (source: The Hollywood Reporter). While such articles generally failed to take into account the difference in screen share between the films involved, the Korean film industry took the final figures as a triumphant way to end the year.

Ultimately, 2015 was a highly lucrative year for the industry with cinema attendance hitting yet another record high and Korean films attaining around 52% of the market share (source: Chosun Ilbo).

Now that the year is over, here are Hanguk Yeonghwa’s top ten Korean films of 2015.

INTRO – 10 – 9 – 8 – 7 – 6 – 5 – 4 – 3 – 2 – 1

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Top 10 Korean Films of 2014 – Most Memorable Moments of 2014

Top 10 Korean Films of 2013 – Most Memorable Moments of 2013

Film News

December 19, 2015July 3, 2016

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Reach for the SKY (공부의 나라) – ★★★★☆

Reach for the SKY (공부의 나라)

Every year, Korean high school students undertake the infamous ‘Suneung’ exam – a gruelling series of college scholastic ability tests that will determine which university they can attend, the status of which in turn will dictate potential opportunities that will arise in later life. The most prestigious and highly sought after institutions are Seoul National, Korea, and Yonsei universities which form the an acronym SKY, respectively, with students often resorting to extreme measures in order to achieve enrolment. Documentary Reach for the SKY follows a selection of students on their quest to be in the top percentile and fulfil their ambitions.

Students attempt to cope with their stressful ordeal with humour

One of the most well-received Korean independent films at Busan Film Festival earlier this year, documentary Reach for the SKY is an engrossing exploration of the inordinate amount of pressure caused by the infamous Suneung exam as well as the cultural phenomena that has spawned in its wake. Directors Steven Dhoedt and Choi Woo-young wisely avoid taking a stance on the issue yet emphasise the burdens, profiteering and fervour with impressively subtle irony, which will likely mean little to native Koreans but will resonate strongly with audiences unfamiliar with the country’s harsh education system.

Filmed over the course of four years, Reach for the SKY follows a well-chosen selection of students at various stages in their academic careers as they attempt to pass Suneung exam, and through their experiences directors Dhoedt and Choi reveal an array of startling cultural facets with keen insight. Whether the subjects are taking or re-taking the infamous test, the co-helmers broaden the perspective to capture the unique contexts within which the students operate, and in doing so the pressures from parents, teachers and wider society are revealed to fascinating effect.

The pressures of the Suneung exam have spawned wealthy celebrity teachers

Of these, the individuals and institutions that profit from the anxieties surrounding the exam are given focus, notably the celebrity teachers and boarding schools that have arisen as a result. The directors brilliantly capture the startling quasi-pop star status of a teacher as he lectures on stage to a sold out auditorium full of eager teens before driving home in his BMW, scenes which are effectively juxtaposed with a boarding school more akin to a juvenile offender prison than an academic organisation, and religious institutions that depict the fervour of acolytes as they speak in tongues.

In each case, directors Dhoedt and Choi lace the images with a wonderfully cheeky sense of comedic irony that helps to offset the rather astonishing nature of such scenes. The instances where the wealthy celeb-teacher actually fails to speak/write English correctly particularly resonates, while the poor English signs at the boarding school, the mean parents/teachers who receive angry disapproving looks from students, the annoyed Buddhist monk who is handed a list of hundreds of students to pray for, all combine to underscore gentle and playful criticisms of the education system.

Arguably the most potent form of critique is the manner Reach for the SKY intermittently incorporates quotations from the Analects of Confucius, an ideology which still holds powerful relevance in contemporary Korean society. Through citing such Confucian texts, followed by sequences revealing how the education system has evolved in an alternative direction, the implication is clear – teens are studying not to be enlighten but to be assessed, and their suffering is very real.

Every year thousands of students sit the stress-inducing Suneung exam

Verdict:

Reach for the Sky is an impressive documentary exploring the infamous Suneung exam. Directors Steven Dhoedt and Choi Woo-young insightfully capture the stresses endured by students generated by the harsh education system and wider socio-cultural facets, often with wonderfully cheeky irony that serves to gently critique the entire phenomenon to fascinating effect.

★★★★☆

Busan International Film Festival (20회 부산국제영화제) Korean Film Festivals 2015 Reviews

December 15, 2015May 19, 2016

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The Priests (검은 사제들) – ★★★☆☆

The Priests (검은 사제들)

When Catholic student Yeong-shin (Park So-dam (박소담) is involved in a hit-and-run incident, she begins to develop peculiar maladies that doctors are at a loss to explain. Upon visiting the distraught youngster, Priest Kim (Kim Yoon-seok (김윤석) becomes convinced she’s possessed and prepares to exorcise the demon within, despite the church ‘s refusal to sanction the ritual. Yet Kim cannot perform the ceremony alone, and employs the help of Deacon Choi (Kang Dong-won (강동원). Together, they may just have a chance at saving Yeong-shin’s life…or perhaps Kim really is as crazy as the allegations against him claim to be.

Yeong-shin begins to develop bizarre symptoms following her accident

One of the surprise sleeper hits of 2015, writer/director Jang Jae-hyeon’s exorcism drama The Priests is far more fun and entertaining than it has any right to be. While religious mystery-horrors are quite a rarity in Korean cinema, Jang popularises the risky prospect by imbuing the film with an unexpected amount of wit and charisma which, alongside impressively constructed exorcism scenes, are enough to overlook the various narrative shortcomings.

Adapting his well-received 2014 short film 12th Assistant Deacon – which notably won the Best Director Prize at Jeonju International Film Festival – into feature length format was no easy feat, but director Jang succeeds much more than he fails.

The Priests is an enjoyable affair chiefly due the characterisation and resulting conflict between stoic Father Kim and lackadaisical Deacon Choi who, as polar opposites, play off each other well throughout the film in ways both comedic and entertaining. The narrative unveils predominantly through Choi’s perspective as he is asked to join Kim for the exorcism ritual, while never really quite sure of the reality of the situation. Kang Dong-won is somewhat miscast in the role as the naive Deacon but he infuses the role with a palpable likability while the approach is a good one, introducing the concept to unfamiliar Korean audiences while also addressing the cynicism such tales evoke.

Deacon Choi joins Father Kim as they prepare for the ritual

The humour and mystery involved in preparing for the exorcism is entertaining enough to distract audiences from the fact that there are plot holes and unresolved tangents galore as well as the curious absence of an emotional core. In the original 1973 horror classic The Exorcist director William Friedkin spent much of the first act developing Regan prior to her possession in order to heighten audience empathy with her situation; in The Priests no such effort is made with Yeong-shin and as a result her ordeal is difficult to invest in despite the shock value. That said, however, Park So-dam embodies the role of the traumatised teen brilliantly and works wonders with the little material she has, flitting between innocence and raving lunacy seemingly at ease to make sequences particularly disturbing.

Much of the first half of the film, while enjoyable, is mostly filler prior to the actual exorcism itself, where The Priests ultimately unveils its unique aesthetic. Taking cues from previous films involving exorcism whilst incorporating a distinctly Korean take on the material, director Jang and the production crew are to be commended for constructing a startlingly effective sequence of macabre events as the ritual unfolds. The set design alongside impressive practical effects create scenes of supernatural horror that are thoroughly engaging, and offers one of the more unique cinematic experiences from the Korean film industry.

Father Kim dedicates himself to exorcising the demon within Yeong-shin

Verdict:

The Priests is quite a rarity in Korean cinema, with writer/director Jang Jae-hyeon’s take on exorcism subject matter far more entertaining than it has any right to be. The comedic and mysterious undertones help to mask plot holes and the lack of an emotional core, yet the drama comes into it’s own during an engaging final act and as a result is one of the more surprisingly enjoyable films of 2015.

★★★☆☆

Reviews

December 10, 2015May 19, 2016

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Assassination (암살) – ★★★☆☆

Assassination (암살)

During the Japanese occupation of Korea in the 1930s, independence fighters wage war against the regime. However complicating matters significantly are the native Koreans who offer support to the invaders, turning traitor for wealth and power. One such turncoat, Kang In-gook (Lee Kyeong-yeong), is selected as the next assassination target with sniper Ahn Ok-yoon (Jeon Ji-hyeon), bruiser ‘Big Gun’ (Jo Jin-woong) and explosives expert Deok-sam (Choi Deok-moon) recruited for the task by independence captain Yeom Seok-jin (Lee Jeong-jae). However unbeknownst to the trio, contract killers Hawaii Pistol (Ha Jeong-woo) and Old Man (Oh Dal-soo) have been hired to stop them before they can fulfil the mission.

Liberation fighter Yeom gathers together a team for a daring task

Deserving credit for producing blockbuster fare in the Korean film industry – as well as for touching on the extremely sensitive issue of Japanese collaboration – director Choi Dong-hoon has once again crafted solid entertainment in the form of Assassination. While boasting a talented ensemble cast and and production values most other directors could only dream of, Choi’s latest still, as with prior film The Thieves, suffers from an overly-long and convoluted narrative that is tonally inconsistent. Alongside poor characterisation and lack of depth, Assassination is ultimately eye-candy cinema that is fun while it lasts but difficult to truly invest in.

Assassination begins in explosive fashion, as the fraught political period is brought to life through an adrenaline-inducing opening sequence that sees resistance fighter Yeom attempt to take out a high-profile Japanese target. It’s an engrossing and brilliantly executed introduction, with director Choi effortlessly generating thrills while setting up momentum for events to come. It also, ironically, contains much of what the film is about – glorious production values and camerawork, and talented performers wrangling with thread-bare characterisation.

The film’s reported $16 million budget is clearly visible in every frame as Assassination is truly a visual treat. The production, set and costume design are consistently impressive from beginning to end and it’s a genuine shame that the talented teams behind these areas have not been more widely celebrated for their work, for Assassination is worth watching largely for the visual finesse within.

Trio Big Gun, Ok-yoon and Deok-sam are recruited to assassinate a conspirator

Director Choi has always managed to attract an impressive ensemble cast featuring some of the best talent within the industry for his projects, and Assassination is no exception. The manner in which such disparate characters are weaved together is arguably more organic than Choi’s previous work, and there is great entertainment value to be had during the film’s first half as alliances are forged and events set up. Yet at the half way mark the narrative takes a turn for the worse, veering into a wealth of convoluted and contrived plot points while taking initially promising characters and reducing them to one-dimensional stereotypes.

While the film’s stars perform their roles competently, unfortunately the characterisation issues effect them greatly. Jeon Ji-hyeon is promising as an empowered captain of the indolence who defies authority, only to be later reduced to her image in the film’s second act and never really shows her range. Ha Jeong-woo does what he can in the role of Hawaii Pistol though it quickly becomes apparent that both he and sidekick Oh Dal-soo never really belong in a story of Korean independence, seemingly remnants from a comedy-western that are shoe-horned in for light relief. Lee Jeong-jae performs the role of resistance leader Yeom with confident ease and is arguably the most charismatic presence, although the actor is in real danger of becoming typecast which undermines the tension.

While consistently entertaining, perhaps the biggest issue with Assassination is that the narrative itself is simply vapid. Director Choi bravely employs the extremely sensitive topic of Koreans collaborating with their oppressors during the era, but never explores nor takes a stance on the issue. It’s only in the film’s dying moments when one such traitor is allowed to twist history into portraying himself as a patriot that the film’s message takes a disturbingly conservative tone, and as such the underutilisation of a key feature of Korean history is sadly wasted.

Team leader and sniper Ok-yoon takes aim

Verdict:

One of the big tentpole films of 2015, blockbuster Assassination is an entertaining affair. Director Choi Dong-hoon once again proves his ability to command a talented ensemble cast and enormous budget. Top marks however instead go to the production crew who’ve crafted Assassination into a visual treat, making it possible to withstand the overly-long convoluted narrative and thread-bare characterisation that so often threatens to derail the proceedings.

★★★☆☆