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
The Korean Competition at the Jeonju International Film Festival (JIFF) always contains a selection of rare gems of independent cinema.
Last year the big winner of the competition was December which was honoured with the Grand Prize, while Dear Dolphin and Lebanon Emotion won the CGV Movie Collage Awards, respectively. The Audience Critics Prize went to documentary My Place. Interestingly, out of all of the winning films the most successful were Lebanon Emotion – which earned Jung Young-heon the Best Director prize at the Moscow International Film Festival as well as appearing in Vancouver and London – and My Place, which has earned several domestic accolades including the Jury Prize at the Seoul International Film Festival and was invited to the Hot Docs Canadian International Documentary Film Festival.
At JIFF 2014 there are eleven films vying for the coveted Grand Prize. Among the eight features and three documentaries are nine world premieres, which is certainly an impressive lineup. Below is the Korean Competition trailer which features highlights from all the entrants, before more detailed profiles of each film in the program.
Korean Competition
A Dream of Iron (철의 꿈)
Director Park (Kelvin) Kyung Kun (박경근)
A Dream of Iron
A Dream of Iron
Documentary A Dream of Iron arrives as the most celebrated film in the category following a premiere at Berlinale and being awarded the NETPAC prize (alongside Non-Fiction Diary). Unable to understand his partner’s decision to become a Buddhist monk, director Park begins searching for something tangible and awe-inspiring, leading him to Korea’s POSCO steelworks. Contrasting differing ideas of religion and majesty, A Dream of Iron contains stunning cinematography of the country’s struggle with modernity.
A Fresh Start (새출발)
Director Jang Woo-jin (장우진)
A Fresh Start
A Fresh Start
A Fresh Start marks director Jang Woo-jin’s feature debut. The film depicts youngsters Ji-yeon and Hye-rin, two lonely individuals who meet regularly at a literature club. When their relationship unexpectedly turns sexual, everything is fine…until Hye-rin discovers that she is pregnant. With both of them already suffering from family-related problems, school issues and the all-too-common depression that afflicts Korean youth, Hye-rin and Ji-yeon struggle with what they should do in such a difficult situation. Furthermore their unsure feelings towards each other are forced into the spotlight as they struggle to find a solution.
Highway Stars (악사들)
Director Kim Ji-gon (김지곤)
Highway Stars
Highway Stars
Highway Stars is another documentary entry in the competition, following the life and times of Band Udambara. The ensemble are a fascinating group consisting of former nightclub performers and a Buddhist monk, and the film explores how they make a living by taking night gigs. Nightclubs, it should be noted, are different from clubs in Korea as they are extremely male orientated and often are fronts for illegal activity. Director Kim Ji-gon, whose documentary Grandma Cement-Garden appeared at JIFF last year, returns to explore more individuals forced to the margins of society.
Miss the Train (미성년)
Director Lee Kyung-sub (이경섭)
Miss the Train
Miss the Train
Director Lee Kyung-sub has previously helmed a number of short films including last year’s JIFF Cinemascape entry Mr. Vertigo, starring Oh Dal-su. With Miss the Train director Lee upgrades to feature length in depicting the story of So-jin, who grieves the death of her mother, a former shaman. When a strange man forces So-jin to help him find his missing child as he believes she is part of a prophecy, she desperately seeks an escape from the pressures in her life. Yet when she runs away to lie low in a warehouse, she encounters another odd man, and her grasp on reality becomes evermore tenuous as spirits seem to appear before her.
Monkeys (몽키즈)
Director Jung Byeong-sik (정병식)
Monkeys
Monkeys
Monkeys is Jung Byeong-sik’s directorial debut, after working on other films including 2012’s A Confession of Murder and Action Boys in 2006. Monkeys revolves around Gong-hyeok, a man who once had future ambitions of becoming renowned in the music and film industry. Yet now in his late twenties and in dire need to support his family, Gong-hyeok is still no closer to achieving his dreams. Yet when he reconnects with an old friend who has just debuted as a film director, Gong-hyeok cannot help himself and old quarrels suddenly start to reappear and drive a wedge between them. The film is in both colour and black and white.
One For All, All For One (60만번의 트라이)
Director s Park Sa-yu (박사유), Park Don-sa (박돈사)
One For All, All For One
One For All, All For One
Issues of discrimination are of paramount concern in rugby drama One For All, All For One. The sporting film depicts a Korean rugby team in Osaka who are very successful despite encountering prejudice from society at large. However their indomitable spirits and strong sense of camaraderie help them to overcome any discrimination that comes their way. Sporting dramas are often quite successful in Korea especially as they typically involve national pride, particularly when the opponents are Japanese. Director Park Don-sa is a third generation Korean living in Osaka, while director Park Sa-yu has focused on discrimination against Koreans in Japan in her previous work.
Pohang Harbor (포항)
Director Mo Hyun-shin (모현신)
Pohang Harbor
Pohang Harbor
Drama Pochang Harbor explores the notions of life and death, in conjunction with human development and behaviour, in what looks set to be the most experimental offering in the category. When his father mysteriously goes missing, a man returns to his hometown in order to find him. Yet the man also has alternative reasons for coming home. Following years of working dead-end labour jobs and not settling any roots, the man is searching for something more than the life he has forged. In her feature debut director Mo Hyun-shin employs a host of long shots and keen cinematography to examine the human condition.
Sookhee (숙희)
Director Yang Ji-eun (양지은)
Sookhee
Sookhee
Sookhee tells the story of a conservative, workaholic philosophy professor named Yoon. Unable to take the stress any longer Yoon suffers a stroke and, as his wife is unable to cope, a free-spirited caregiver named Sookhee nurses him to health. Yet her treatments are far from orthodox as she employs a mixture of kindness, fear, and sexual excitement to force Yoon on the road to recovery. Furthermore, the maternal instincts she employs enact a dramatic reversal of traditional gender roles, provoking extreme reactions from the once uptight philosophy professor. Sookhee is director Yang Ji-eun’s first feature film and due to the exploration of sexual issues is described as a ‘daring debut.’
The Wicked (마녀)
Director Yoo Young-seon (유영선)
The Wicked
The Wicked
The competition would be lacking without a new thriller, and luckily director Yoo Young-soon’s debut The Wicked fulfills the criteria. When Se-yeong begins working at a company, her senior I-seon quickly becomes concerned. Se-yeong’s threatening behaviour, as well as her fascination for sharp objects ranging from scissors to small knives, frightens I-seon…particularly as she learns more about her new colleagues unsavory past. Could Se-yeong truly be as wicked as she seems?
The Youth (레디 액션 청춘)
Directors Kim Jin-moo (김진무), Park Ga-hee (박가희), Ju Seong-su (주성수), Jung Won-sik (정원식)
The Youth – Wonderwall
The Youth – Play Girl
The Youth is an omnibus of four short stories, each one exploring the lives of Korean youths. The segments are entitled The Rumor, Wonderwall, Enemies All Around, and Playgirl. Within each short film the directors examine the worlds of Korean youngsters as they struggle to discover their identities as well as retain their innocence and hope, even when facing external issues including violence and peer pressure. Director Kim Jin-moo is a hot property after the release of Apostle, a film based on North Korean human rights issues. The film was even selected for overseas screenings at the UN. Furthermore directors Park Ga-hee and Jung Won-sik all have a history in helming shorts, while Ju Seong-su has previously worked in the production departments of several features.
You Are My Vampire (그댄 나의 뱀파이어)
Director Lee Won-hoi (이원회)
You Are My Vampire
You Are My Vampire
Quirky romantic-comedy-drama You Are My Vampire seeks to capitalise on supernatural relationships that are so popular in contemporary culture. Director Lee Won-hoi employs a playful and energetic style in depicting the story of struggling screenwriter Gyu-jeong, who encounters a mysterious black-clad figure who bears an uncanny resemble to a vampire…or he could just be the strangest man she’s ever met. The film features an eclectic supporting cast who, to Gyu-jeong’s dismay, also begin behaving strangely after the arrival of the pale-skinned man.
The 2014 Jeonju International Film Festival (JIFF) is due to commence from May the 1st through to the 10th.
Now in its 15th installment, JIFF has long been the festival for showcasing up and coming Korean independent talent as well as serving as a platform for international indies to receive attention. This year is of course no exception, as new features have added and programs extended in conjunction with the traditional core categories.
Last year, JIFF provided the launchpad for several notable Korean indie films that later went on to become successful on the international circuit. Family documentary My Place (마이 플레이스) and drama-thriller Lebanon Emotion (레바논 감정)were the most prominent, enjoying lengthy festival runs and scooping several awards domestically and internationally while other productions including Dear Dolphin (환상속의 그대), Cheer Up Mr. Lee (힘내세요, 병헌씨), Talking Architecture, City: Hall (말하는 건축, 시티:홀), and controversial documentaryProject Cheonan Ship (천안함프로젝트) also performed well. Breathe Me (울게 하소서) was the most celebrated short film to emerge from the festival, later appearing in Cannes in the prestigious Critics Week category.
This year however sees not only an array of new Korean filmmakers but also some of the most renowned and reputable names in the independent film industry screening their latest work. Furthermore, the festival design is clearly emphasising JIFF as a celebration of elegance and subtle sincerity, as can be viewed in the trailer below.
The big change at JIFF 2014 lies in the greater focus on Korean films. Korea Cinemascape has now become a distinct program in its own right, and while previously more mainstream Korean films were integrated within, the focus has now shifted to more independent and low-budget productions. As such, there are some big names in indie cinema within Korea Cinemascape this year, including Lee Song Hee-il (White Night), Lee Sang-woo (Barbie) and Kim Kyung-mook (Stateless Things), as well as a greater number of world premieres which further cement JIFF’s reputation for discovering new talent.
In addition, two of JIFF’s staple programs – Jeonju Digital Project and Short! Short! Short! – have been amalgamated in order to enhance the overall quality of the productions as well as elevating the films into features. This year, two of of the three films are helmed by Korean directors.
The festival is also now separated into two distinct parts – from May 1st~7th JIFF will operate is normal, while May 8th~10th will focus more on the films in the International Competition. The Closing film has been abolished, and instead the Grand Prize winning film from the International Competition will screen instead.
MAD SAD BAD is a fascinating and exciting departure from traditional opening films. The 3D omnibus is helmed by three of Korea’s extremely talented directors. In Ghost, director Ryoo Seung-wan (The Berlin File) explores the life of a high school student who retreats from the world and instead finds purpose talking with a girl on SNS. The segment stars red hot indie star Lee David (Pluto, Poetry), Kwak Do-wan (The Attorney, National Security) and model Son Soo-hyeon in her acting debut, while the film itself is based on a true story. In futuristic zombie film I Saw You, director Han Ji-seung (Papa) plays with a variety of genres as he portrays the undead as factory workers. Featuring Park Ki-woong (Secretly Greatly) and kpop star See Ya’s Nam Gyoo-ri (Death Bell), the romantic musical horror will certainly be an attractive affair. Rounding out the omnibus is Picnic by director Kim Tae-yong (You Are More Than Beautiful). When a young girl loses her autistic brother on a picnic trip, her frantic search calls forth the realms of her imagination inspired from her beloved comic books. Child actress Kim Soo-an (Hide and Seek) stars.
Dear Dolphin (환상속의 그대) was one of the big winners at the 14th Jeonju International Film Festival, scoring the CGV Movie COLLAGE Prize which includes 2 weeks of commercial release, a great boon for any independent film. The reasons for the victory are quite clear, as director Kang Jina (강진아) employs some truly lovely visual aesthetics in her exploration life, love and grief while utilising more traditional melodramatic conventions. Interestingly director Kang never lets the film become too ‘dark’ despite such weighty material, and as such it’s popularity with Korean audiences is entirely understandable. Yet Dear Dolphin is not perfect, featuring a haphazard narrative structure that creates distance between the audience and the central protagonists, while the creation of subplots that are later dropped is a source of frustration. However the story does well in examining the illogical sense of grief following the death of a loved one, and is a thought-provoking, attractive film.
Unable to come to terms with the death of his girlfriend Cha-kyeong (Han Ye-ri (한예리), physiotherapist Hyeok-geun (Lee Hee-joon (이희준) develops insomnia. Unable to work or function properly his life begins to fall apart, while his mental stability becomes strained due to hallucinations. His grief and sense of guilt are also shared by Gi-ok (Lee Yeong-jin (이영진), Cha-kyeong’s best friend, who simultaneously hates herself for her involvement in the accident and also for secretly coveting Hyeok-geun. As their grief becomes ever greater, and reality and fantasy become difficult to separate, Gi-ok and Hyeok-geun must learn to overcome their emotional trauma lest it consumes them.
Hyeok-geun begins to hallucinate due to his uncontrollable grief and insomnia
Dear Dolphin excels when dealing with the subject matter of grief, and the variety of forms which it takes. The emotion is a problematic one to portray, yet director Kang succeeds in capturing the different complexity of each protagonist. Hyeok-geun’s internal strife is articulated through his continual self admonishment and his self-imposed alienation, while the insomnia inspired hallucinations of Cha-kyeong reveal his inability to accept her death. Gi-ok meanwhile cannot cope with the loneliness of her best friend’s passing, heightened by her guilt over desiring Hyeok-geun. Both characters blame themselves for not doing something – anything – to change the past, while Cha-kyeong’s family resent them for much the same reason. The emotional complexity of everyone involved is compelling throughout, as each person commits irrational acts without fully understanding why.
To stop the film from sinking beneath the increasingly fraught emotional tension, director Kang employs a non-linear structure that harks back to when the threesome were happy. The technique certainly brings levity to the story, as well as further conveying the sense of loss through the contrast between the past and present. Indeed, the director utilises her wonderful sense of colour and composition during the flashback sequences that feature vibrant warm reds and yellows, in complete opposition to the washed-out palette following Cha-kyeong’s death. Yet it also serves to usurp the character development in the here and now, as plot threads that took time to establish are often dumped only to later reappear, or to never return at all. The confusion that arises as a result of narrative jumping through time frames results in a distancing between the characters and the audience as it becomes difficult to fully engage and empathise with their respective situations. This is ultimately Dear Dolphin‘s downfall, as in a bid to keep the film ‘light’ with traditional melodramatic conventions, the powerful emotional resonance of each character becomes lost.
Beautiful, cherished memories of the threesome become like poison
As empathy becomes increasingly diluted, it therefore falls to the actors to keep the emotional intensity sharp in the present. In this respect it is Lee Yeong-jin who gives the standout performance as Gi-ok, as the actress appears evermore fraught with guilt, stress and grief. The anguish on Gi-ok’s face as she reaches out to Hyeok-geun for emotional and physical support is sincere, while the continual rejection of her advances become heartbreaking as she sinks lower and lower. Lee Hee-joon and Han Ye-ri give competent performances as Hyeok-geun and Cha-kyeong, but they are lacking the chemistry and passion that are sorely required when exploring the death of a loved one. As such the film quickly becomes Gi-ok’s story as it is her emotional distress that is the most fully developed, and is her resolution rather than Hyeok-geun’s fragile mental state that takes precedence.
Luckily director Kang also injects the film with some stunning cinematography in relation to scenes involving Cha-kyeong and Hyeok-geun, particularly when employing the water symbolism that is so inherent to the narrative. The scenes are absolutely gorgeous and appear more like a painting than a film. Ironically the surreal and otherworldly sequences further complicate the narrative, but when scenes are this beautiful it’s hard to complain. Often accompanied by an ethereal soundtrack, the conveyance of water as a source of life, death, and even purgatory are lovely to behold, and it is these scenes that resonate long after the film and provide thought-provoking moments on the nature of loss.
The potent water symbolism runs throughout the film
Verdict:
One of the big winners at JIFF 2013, Dear Dolphin is a very attractive film that deals with the issues of love, loss, and grief. Director Kang Jina explores such weighty topics well by constructing the fragility of each protagonist as unique according to their psychology, but the decision to employ non-linear techniques dilutes the emotional intensity of the story. Yet with a great performance by Lee Yeong-jin, as well as some truly beautiful sequences involving potent water symbolism, Dear Dolphin is a thought-provoking film on the nature of life, death, and spirituality.
Further quick fire reviews from the 14th Jeonju International Film Festival.
Breathe Me (울게 하소서)
Breathe Me (울게 하소서) – ★★★★☆
Far too often, scandalous headlines of teen pregnancy and mothers abandoning their children in horrific ways fill Korean media. It’s therefore quite brave of director Han Eun-young (한은영) to produce a film about both issues in this 20 minute short, particularly as it is staged from the perspective of the teens themselves. The result is an incredibly engaging and compelling film, one that is so enthralling that it feels more like 5 minutes than the actual running time. As high school girl A-young has her baby in secret, director Han effectively uses the dim lighting and locations very well in constructing the loneliness and isolation of the situation, contrasted well with the panic and adrenaline-induced scenes of her boyfriend as he attempts to find her. Rather than provide excuses, director Han conveys how the fear of the situation leads the teens to make illogical choices that jeopardize them all. While more information about the central protagonists, and a longer running time, would have made Breathe Me a stronger short, the film is a powerful piece and one that is timely.
Dear Dolphin (환상속의 그대)
Dear Dolphin (환상속의 그대) – ★★★☆☆
Director Kang Ji-na’s (강진아) Dear Dolphin examines the grief, and the illogical sense of guilt, that follows the death of a loved one. Such weighty subject matter is given a sense of surrealism with the inclusion of water symbolism and hallucinations brought on by insomnia, as the narrative conveys how loving memories and emotions can become poison through the refusal of acceptance. For the most part director Kang succeeds in capturing the psychological devastation and the difficulty in moving on, yet the narrative structure is also responsible for lessening the poignancy of the message. As the story often jumps between time frames without much notice, as well as the stylistic changes and the picking up and dropping of subplots at whim, it becomes difficult to fully connect with the central protagonists and to feel their trauma. Perhaps this is intentional in order to keep the film ‘light’ despite the complex subject matter, but the result is one that distances audiences from the raw emotional power that the film attempts yet never fully manages to conceive. A thought-provoking film.
More quick fire reviews from the 14th Jeonju International Film Festival.
Inertia
Inertia – 6/10
This Mexican hospital drama has an extremely heartfelt script, as the nature of love and sacrifice are explored. Central protagonist Lucia accidently runs into her ex-boyfriend Felipe who, thanks to failing kidneys, has momentary lapses in coherence. As she decides to take care of him the two discover feelings that they thought were long gone, yet Felipe’s increasingly volatile state causes further heartache. Director Isabel Munoz Cota competently helms the drama, yet there is always a distance between the audience and the characters, a critical issue for such an emotional story. Similarly the acting is also adequate, but the roles demand much more skill and nuance than what is provided. Inertia is a well-made film that doesn’t quite manage to fulfill the potential of the script.
Burn, Release, Explode, The Invincible (연소, 석방, 폭발, 대적할 이가 없는)
Burn, Release, Explode, The Invincible (연소, 석방, 폭발, 대적할 이가 없는) – 4/10
Director Kim Su-hyun (김수현) blends a variety of generic conventions within Burn, Release, Explode, The Invincible, merging drama, documentary, and experimental forms. The result is an odd tale about a woman with an androgynistic voice, who is in high demand for voice over work due to her authoritative yet soft vocal style. Her gift is also her curse however as the pressures surrounding her impact her mental stability. In terms of technique it’s a well-made film, yet the story is difficult to follow and the central protagonist hard to empathize with given the disparate conventions and non-linear storytelling. The finale is also quite odd as traditional Korean performances are introduced to express freedom. An interesting film, but also one that’s difficult to become immersed in.
Shibata and Nagao (시바타와 나가오)
Shibata and Nagao (시바타와 나가오) – 6/10
While his last film Breathless was a mesmerizing exploration of social class and the nature of violence, director Yang Ik-june (양익준) opts for a very different approach with romantic drama Shibata and Nagao. Filmed in Japanese, the film explores ex-lovers who meet again following a later break-up. Director Yang’s style is soft and tender as he examines the feelings that still exist between them, but it is also frustratingly slow-paced as very little information about them is revealed. There are some lovely moments that arise, as well as comedic – they discuss if a loud, violent couple are Korean – and it is thought-provoking in regards to unresolved/unrequited emotions. There’s a sense that there is a larger story not shown which is a shame. A lovely, yet slow-paced film.
Quick fire reviews from the 14th Jeonju International Film Festival.
Lebanon Emotion (레바논 감정)
Lebanon Emotion (레바논 감정) – 8/10
Lebanon Emotion is without a doubt one of the best films at the festival, and certainly a strong contender for best film in the Korean Film Competition category. Director Jung Young-heon (정영헌) has cemented his position as a film-making talent to watch, following his best director win for short film Hard Boiled Jesus at JIFF 2012. In Lebanon Emotion the director explores a great variety of themes throughout the drama/thriller narrative including suicide, guilt, survival, and purpose, against the backdrop of winter in the countryside. Director Jung’s prior history with cinematography is clearly apparent as the landscapes and settings are very attractive throughout. Yet what makes the film so powerful is the characterisation, and the wonderful performances given by the central cast who are continually poignant and compelling. Recommended viewing.
Mr. Vertigo (축지법과 비행술)
Mr. Vertigo (축지법과 비행술) – 5/10
Mr. Vertigo promised to be one of the more quirky offerings at the festival, yet only partially succeeds. This is wholly due to actor Oh Dal-su who performs the role of a roguish ‘air-walking’ master who takes on a new student. Oh Dal-su has played plenty of similar characters in the past and while he tries to squeeze as much out of the master as he can, there isn’t really enough material for him to do so. The main protagonist is actually his disciple, a frustrated bookish young man who seeks something new and fulfilling. Again however, director Lee Kyung-sub (이경섭) doesn’t provide much information or fully convey his anxieties, resulting in a lack of engagement. A mildly entertaining film that doesn’t capitalize on its premise.
Timing (타이밍)
Timing (타이밍) – 5/10
As the title implies, Timing features some of the ironic features of life that tend to occur at the most inconvenient of moments. The narrative conveys the frustrations of a career woman recently diagnosed with cancer, and the events that transpire as a result. She explodes at her boss in a business meeting; an ex-lover appears out of concern; financial and health issues, and so forth. The film becomes quite episodic due to this approach, and as such it’s difficult to really align with the protagonist and feel the anguish she endures. The character is also not particularly likable due to her initial selfishness. However director Kim Ji-Yeon (김지연) manages to cram an awful lot of material into the 21 minute running and is quite insightful at times, although she could have benefitted much more by making it a feature.
The Woman (그 여자)
The Woman (그 여자) – 5/10
With the transsexual experience vastly underrepresented in Korean cinema, The Woman had the potential to shine a light on important issues yet only partially succeeds. The narrative follows Yoon-hee as she goes about her daily life, until her older brother pays a visit to inform her of their mother’s illness. Unfortunately director Jo Mee-hye (조미혜) takes nearly all the running time just to get to this point, generally meandering as Yoon-hee delivers milk on her rounds. There is a wealth of material within the film that is just never explored – Yoon-hee’s status as an outsider, her obviously fraught relationship with her husband, the extremely strained familial history – and as such only scrapes the surface of the potential on offer. The Woman is an interesting yet superficial film, and a missed opportunity.
Echo of Dragon (용문)
Echo of Dragon (용문) – 3/10
Fans of experimental and art house cinema will find much to love with director Lee Hyun-jung’s (이현정) Echo of Dragon, due to the highly symbolic features that run rampant throughout. For everyone else, the film is pretentious, self-indulgent and utterly absurd. The film does feature moments of beautiful cinematography although they are often sporadic, while narrative elements are started and dropped without any warning. Ironically it is a different director, Lee Sang-woo, who steals the show in his performance as a possibly mentally unhinged drifter. He provides much-needed levity and focus to the film, and is genuinely funny yet also hints at a greater depth that goes unexplored. The film is highly symbolic, but also frustratingly bizarre.
Garibong (가리봉)
Garibong (가리봉) – 5/10
Director Park Ki-yong (박기용) has produced a documentary in the very literal sense of the word with Garibong, as he ‘documents’ areas within the titular district in which Chinese immigrants reside. The cinematography is superb, capturing the sense of dislocation of the area from the surrounding Seoul districts and the squalid, dilapidated buildings convey palpable depression. Often, he film evokes scenes from sci-fi classic Blade Runner. Yet despite the attractive visual prowess, the film is quite dull as there are no people or stories to follow, and therefore no opportunity to become fully engaged within the world of Garibong. The static camera is both a blessing and a curse, as while it captures the alleys and lifestyle there is always a distance between it and the residents. Ultimately the documentary is visually attractive, but lacking compulsion.
With such a great variety films to see at the 14th Jeonju International Film Festival, and precious little time to write full reviews, here is the first in a series of ‘Quick Fire Reviews’ from the festival.
Groggy Summer (그로기 썸머)
Groggy Summer (그로기 썸머) – ★★☆☆☆
Groggy Summer depicts the life of frustrated teenage poet Min-joon, whose poverty-stricken lifestyle leads him to despair. Misunderstood by his parents, the young man finds solace with his friends who are similarly displaced social outcasts. The story is a very interesting one, and director Yun Su-ik (윤수익) initially does well in conveying the difficulties of being a creative person in Korean society. As the film continues Min-joon is constantly beaten down by the trappings of capitalist society, where money is the solution at every turn. Yet the film doesn’t really explore any of the features in great detail, instead seeking to add more and more different challenges to Min-joon’s life, which results in a loss of focus and invites predictability. There are also intriguing parallels to be had with his artistic father, which unfortunately are not capitalised on. The major issues with Groggy Summer are the camerawork and editing. While the mixture of close-ups and extreme close-ups creates intimacy and provides a penetrating exploration of emotion, it also makes for uncomfortable viewing as the world in which Min-joon inhabits is not fully portrayed. The intensity of this style helps to convey frustration, but when used in conjunction with highly kinetic hand-held camera movement the result is dizziness and nausea. The editing also detracts from the story as it noticeably jumps in several areas. The story has a lot of potential and shows promise, yet the filmmaking techniques detract from the experience.
Cheer Up Mr. Lee (힘내세요, 병헌씨)
Cheer Up Mr. Lee (힘내세요, 병헌씨) – ★★★☆☆
A mockumentary about an aspiring but lazy director, Cheer Up Mr. Lee is a very funny examination of Korean dramas and documentaries. Based on the life of the director, Lee Byeong-hun (이병헌), the film wonderfully pokes fun at the contrived cinematic conventions to be seen in Korean media in a variety of ways. The central protagonist and his friends are very amusing as they are all losers who berate each other for fun instead of working hard to achieve their dreams, while the frustrations of the documentary team as the follow them are comedic. This postmodern sensibility extends to the awareness of filmic conventions, as Byeong-hun berates the film crew for employing techniques such as music during crises. Yet while the film begins strongly the narrative and comedy aren’t consistent, and as such the film often flits between fun and dull points as the focus is repeatedly found then lost. The second act suffers acutely in this regard, especially as the team travel to Busan. Luckily the film picks up towards the end, where the director pokes fun at short film and art film conventions, as he makes his debut in a very comedic manner. A fun film that often loses focus, yet very entertaining.
Karaoke Girl
Karaoke Girl – ★★★☆☆
Thai director Visra Vichit Vadakan has produced a fascinating insight into the life of young Thai women who find themselves working in the seedy bars of Bangkok. The film explores the life of Sa, a 22 year old woman who moved from the country to the capital in order to find work and money, yet did so at the expense of her happiness. Karaoke Girl is not a depressing effort however, as while Sa is treated terribly by her on-again-off-again boyfriend director Vadakan portrays the young woman as strong and passionate, and that she understands she deserves more than what life has provided for her. Sa’s spirit drives the film, and the actress is talented and engaging throughout. The director also wisely steers clear of any sexual content that could have so easily been included and instead focuses on Sa’s journey as she becomes stronger. Yet Karaoke Girl suffers from the mixture of drama and documentary techniques that occur throughout, never managing to fully blend them into a coherent whole which ultimately detracts from the viewing experience. The film jumps from following Sa’s life, which is utterly engaging, to interviewing her family in the countryside, and draws the audience out of the film. This is a genuine shame as Sa is an intriguing character/real life subject.
Juvenile Offender (범죄소년)
Juvenile Offender (범죄소년) – ★★★★☆
With a story concerned with the abandonment of youth, Juvenile Offender is a highly poignant and engaging drama. Director Kang Yi-kwan (강이관) explores several very important and timely social issues within Korean society, including teenage pregnancy, parental abandonment, poor social care, unfair legal system, and misunderstood youth. The film follows Jin-gu, a teenage who lives with his elderly grandfather. Falling into the wrong crowd and with anger problems, Jin-gu quickly earns a criminal record and finds himself in a detention center. When his mother, who was thought to be dead, surfaces to take him in, their relationship is explored as the two struggle to overcome their own strife as well as to forge a relationship. Director Kang deftly sidesteps any melodrama and the film emerges the stronger for it, while the powerful performances by both Seo Yeong-joo (서영주) as Jin-gu and Lee Jeong-hyeon (이정현) as his mother are captivating. While it feels unfair to comment negatively on appearance, Lee Jeong-hyeon’s quite obvious plastic surgery detracts from her role as a teenage mother with a criminal past. The youthfulness of her face appears similar to her son, which invites some oedipal anxieties at certain points. The film also somewhat loses track as it draws to a close, seemingly unsure how to wrap up so many issues and ends rather abruptly, yet it is also quite fitting. A powerful and timely film.
In part 1 of the examination of the 14th Jeonju Film Festival’s Korean Short Film Competition, 10 of the shorts were profiled and discussed. There are an interesting range of shorts in competition this year, including some animated entries and some experimental filmmaking, although for most there appears to be a real social-realist heart at the core of most of the films, particularly in regards to youth. Contemporary issues including teenage pregnancy, young runaways, extreme shyness, disillusioned youth, and the political impact on young minds are prominent issues at this year’s festival, and it’s really interesting to see such a strong devotion to youth issues.
This second part of the feature on the Short Film Competition explores the final 10 shorts within the category. As with the first part, youth issues seem to be the primary focus alongside more experimental fare and looks to be a very interesting lineup.
No More No Less (더도 말고 덜도 말고)
No More No Less (더도 말고 덜도 말고)
Director: Lim Oh-jeong (임오정)
Synopsis: The film explores the lives of teenage girls in contemporary Korea through the theft of an ipod, which brings to light issues of trust, jealousy, and companionship. The highly competitive and stressful life of Korean high school girls is potent material, and this film could shine a new perspective on a timely subject.
Phase (상)
Phase (상)
Director: Oh Min-wook (오민욱)
Synopsis: Another experimental addition to the lineup, Phase is concerned with ‘images that mutate’ by employing abstract images, footage from historical events, and phrases and mottos. The images that are circulating are quite attractive, and it will be interesting to see how director Oh uses them.
Road Movie (로드 무비)
Road Movie (로드 무비)
Director: Jung Nam (정남)
Synopsis: Experimental film Road Movie ‘portrays the existential base of film’ by utilising cinematic conventions in exploring the medium. Light, shadow and motion are used in conjunction with editing techniques as the film moves along a course.
Sisibibi (시시비비)
Sisibibi (시시비비)
Director: Jung Jee-hyung (정지형)
Synopsis: Sisibibi explores the notion of contemporary masculinity through two drunk central protagonists. Their discussion about what defines masculinity and what women are looking for, results into a competition. Contemporary Korean masculinity is complicated to say the least, so this could highlight some interesting issues.
Sweet Temptation (잘 먹고 잘 사는 법)
Sweet Temptation (잘 먹고 잘 사는 법)
Director: Jeong Han-Jin (정한진)
Synopsis: This short has an intriguing premise, as a young boy who has only had a diet consisting of natural foods is suddenly introduced to chocolate. Themes of parental trust and ‘blind faith’ are explored as the boy becomes open to new possibilities. Symbolic and timely material due to the generation gap.
The Sound of Rain (빗소리)
The Sound of Rain (빗소리)
Director: Kim Jin-hee (김진희)
Synopsis: Exploring the fragility and innocence of the very young, The Sound of Rain depicts the anxieties of a kindergarten girl who has gone to school without an umbrella on a rainy day. Parental responsibilities and maternal abandonment are key themes within the film, and emphasize a growing social problem.
The Wish (주희)
The Wish (주희)
Director: Huh Jung (허정)
Synopsis: Another entry highlighting the social problems of teenage girls, The Wish explores the notion of popularity according to wealth in a middle school. When a supernatural ritual becomes fashionable at the school, jealousies and rivalries are examined.
Three Stories About Depth (깊이에의 강요)
Three Stories About Depth (깊이에의 강요)
Director: Choi Seung-chul (최승철)
Synopsis: This 9 minute short is divided into 3 ‘episodes’ that explore the cinematic techniques involving depth. Director Choi employs the theme of depth in a variety of ways, using the camera to penetrate different realms of distance, and could be potentially illuminating.
Trunk (트렁크)
Trunk (트렁크)
Director: Kim Hyeon-cheol (김현철)
Synopsis: One of the more traditional genre entries, Trunk appear to be a short thriller that involves a woman too curious for her own good. When she takes a peek inside a car trunk that has been left open, there are ramifications to be had. It will be interesting to see if director Kim can fulfill the tension that the synopsis suggests.
Two Gentlemen (두 신사)
Two Gentlemen (두 신사)
Director: Park Jae-ok (박재옥)
Synopsis: Only the second animated entry this year, director Park’s Two Gentleman is quite a departure from the distinctly Korean issues explored by his peers. The film examines the snobbish nature of two French art critics as they quarrel over a painting, uses satire to do so.
The 14th Jeonju International Film Festival received more applicants than ever before for the Korean Short Film Competition – a total of 589 films were submitted, quite an increase from the 500 or so short films that are typically submitted. Out of these, 20 finalists were chosen to compete for the Grand Prize and the 5 million KRW reward, as well as the Best Director Prize (3 million KRW) and the Special Jury Prize (2 million KRW).
This year features mostly dramatic films that focus on quite a diverse range of generational and societal issues in Korea, yet there are also a growing number of experimental films as well as two animated shorts.
In this first part focusing on the competition, 10 of the short films are profiled and exemplify the festival’s nature in putting a spotlight on new, raw talent and for pushing boundaries.
Breathe Me (울게 하소서)
Breathe Me (울게 하소서)
Director: Han Eun-young (한은영)
Synopsis: Teenage pregnancy is a growing concern in Korea, particularly the secrecy in which it is shrouded. Director Han examines two such teens as they deliver their baby alone and the stark choices they face, in what looks to be a powerfully solemn drama.
Broken (부서진)
Broken (부서진)
Director: Choi Jung-min (최정민)
Synopsis: One of the more experimental submissions, Broken is a ‘self-reflexive narration’ that employs and juxtaposes news text from the past with images from the present. Director Choi apparently seeks to create conflict between the words and pictures.
Family (패밀리)
Family (패밀리)
Director: Jung Wook (정욱)
Synopsis:Family deals with a group of teenage runaways who have found accommodation in the form of a public bathroom. Director Jung explores their lives as they earn money illegally and continue their squalid existence, as well as the rejection from those supposed to protect them.
Flamenco Nina (플라멩코 소녀)
Flamenco Nina (플라멩코 소녀)
Director: Lee Chan-ho (이찬호)
Synopsis: The difficult life of extremely shy Jeong-hye is conveyed through this short, and the stresses she is unable to deal with prove a constant source of frustration. Yet she finds freedom of expression through dancing, suggesting this entry could be a feel-good character study.
Grecoroman (그레코로만)
Grecoroman (그레코로만)
Director: Shin Hyun-tak (신현탁)
Synopsis: One of few films to tackle issues of the older generation, Grecoroman is concerned with the notion of reputation as a security officer is branded a pervert for helping an epileptic child, which in turn prompts him to recall the promise of his youth.
Highs and Lows
Highs and Lows
Director: Yang Youn-hwa (양연화)
Synopsis: The first of only two animated entries, this 6 minute short focuses on the competitive nature of society and how people scramble to be on top. This is particularly relevant in Korean culture where competition begins very early, and it will be interesting to see it interpreted within animation.
I Have Nothing to Lose (낫씽 투 루즈)
I Have Nothing to Lose (낫씽 투 루즈)
Director: Seo Won-tae (서원태)
Synopsis: Another experimental entry, I Have Nothing to Lose blends images and text together to create ‘various strands of meaning’. At only 8 minutes it will be interesting to see what meanings director Seo manages to conjure, as well as what overall theme and/or message the film contains.
Late Summer in 1984 (나는 자랑스런 태극기 앞에)
Late Summer in 1984 (나는 자랑스런 태극기 앞에)
Director: Yoo Yong-ji (유용지)
Synopsis: Elements of the capitalist/communist history of Korea are dealt with in director Yoo’s Late Summer in 1984, depicting a family that is torn apart by ideological differences through the perspective of a young boy. Potentially a very illuminating piece.
Mask and Mirror (가면과 거울)
Mask and Mirror (가면과 거울)
Director: Min Byung-hun (민병훈)
Synopsis: Following the life of an elderly artist living in Paris, this short film delves into the issues of those in their twilight years. As the main protagonist is an artist, director Min uses experimental images to emphasize such thoughts on life and death.
My Sweet Home (열여덟 반,)
My Sweet Home (열여덟 반,)
Director: Jung Seoung-oh (정승오)
Synopsis: A tale of a boy on the fringes, My Sweet Home conveys the life of a young man with little ambition who sports tenuous relationships with those around him.
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