Showing posts with label behind the camera. Show all posts
Showing posts with label behind the camera. Show all posts

Tuesday, October 22, 2013

Third Window Films Adds 3 More Korean Films


Dapper dresser and Third Window Films founder Adam Torel is an important figure for English speaking Asian cinema fans. His company has been responsible for bringing many important contemporary Asian titles to the West. Filmmakers like Sion Sono, Shinya Tsukamoto, Lee Chang-dong, and many more have had their films released by Torel’s company, a brand that has carefully curated a catalogue of future classics and the occasional curio. Of course with all that said it has been a long while since Third Window had any Korean films on their release slate.

Wednesday, June 26, 2013

New York Asian Film Festival GIVEAWAY!!!!


June is a time when kids are let out for summer vacation and film fans can gorge on the latest genre films from Asia in the New York tri-state area. For those not already in the know the New York Asian Film Festival (NYAFF) has been held in the Big Apple since 2002. Starting off as a small local festival at small repertory theaters. NYAFF, through the help of Subway Cinema, has been steadily growing and now has become a festival that rivals even the more respected NYFF (New York Film Festival) in films screened and fan enthusiasm. Part film festival, carnivale and fan convention NYAFF has been the site that many directors have chosen to first premiere their films in North America. Not to mention the fact that the overworked staff at the NYAFF always deliver great guests like Hong Kong filmmaker Tsui Hark and actors like Choi Min-shik and Donnie Yen.

Thursday, February 28, 2013

New Korean Films: Meta-Narratives and Binge Drinking (2013 Week 9)

(by Fabien Schneider)

The program for this week looks quite unique, with only two new films, but two independent productions that both have many similarities: they were screened in the Berlinale this month, and propose experiments with narrative. Nothing that could shake the top of the current box office of course, but it will be interesting to see which of these two movies will get the most endorsement from the public.

Nobody's Daughter Haewon  (누구 아닌 해원)


Saturday, February 9, 2013

Berlinale 2013: Behind the Camera (뒷담화, 감독이 미쳤어요, Dwitdamhwa, Gamdokyi Micheotseoyo) 2012


One of the ten Korean films screening at the 63rd Berlin International Film Festival.

E J-yong’s new feature Behind the Camera is a follow-up to his popular mockumentary Actresses (2009), which featured famous stars playing themselves as they took part in a Vogue shoot. That film poked fun at Korea’s entertainment industry and its willing participants were not scared to send themselves up on screen. Many of the same stars return here and are joined by numerous others, but this time E takes his game one step further as he includes himself as the main protagonist.

The conceit is simple: E J-yong is making a short film but there’s a catch, he’s directing it from Los Angeles via Skype. Things get more complicated as the film he is shooting concerns a filmmaker directing a film from overseas via skype.

Thursday, February 7, 2013

Berlinale 2013: Ten Korean Films on Show


The Berlin International Film Festival, one of the world's most prestigious film events, is getting underway today for its 63rd edition. As has been the case for the past few years, Korean cinema is featured prominently in this year's lineup, with no less than ten titles screenings across the fest's various sections. While not in attendance, MKC will highlight some of the films screening over the coming days, many of which previously screened at Korean festivals such as Jeonju and Busan.

Hong Sangsoo takes center stage as his latest film Nobody's Daughter Haewon will compete in the prestigious international competition. Following Pieta's win at Venice and Jiseul's triumph at Sundance, might Hong bring home the Golden Bear?

Wednesday, December 19, 2012

KCN: Korean Cinema to Invade Berlin and Rotterdam (12/13-12/19, 2012)

Numerous festival announcements this week as Korean films pick up more prizes at international film festivals and a number of prestigious events gorge on Korean cinema.

In addition to everything below, a few more fresh festival selections lacking full writeups:

Jiseul, Sleepless Night, The Russian Novel and Sunshine Boys heading to the Rotterdam International

Behind the Camera and Jury to officially take part in Berlin's Panorama section


KOREAN CINEMA NEWS

Berlin Invites Pluto to Generation Section
Next February’s Berlin International Film Festival is taking shape as a major discovery grounds for Korean cinema as a fourth Korean film has been invited to the prestigious event. Shin Su-won’s Pluto, one of the most talked about films at this year’s Busan International Film Festival, will have its international premiere during Berlin’s Generation programme. (KoBiz, December 18, 2012)

Sunday, October 7, 2012

BIFF 2012: Behind the Camera (뒷담화, 감독이 미쳤어요, Dwitdamhwa, Gamdokyi Micheotseoyo) 2012


Part of MKC's coverage of the 17th Busan International Film Festival.

E J-yong’s new feature Behind the Camera is a follow-up to his popular mockumentary Actresses (2009), which featured famous stars playing themselves as they took part in a Vogue shoot. That film poked fun at Korea’s entertainment industry and its willing participants were not scared to send themselves up on screen. Many of the same stars return here and are joined by numerous others, but this time E takes his game one step further as he includes himself as the main protagonist.

The conceit is simple: E J-yong is making a short film but there’s a catch, he’s directing it from Los Angeles via Skype. Things get more complicated as the film he is shooting concerns a filmmaker directing a film from overseas via skype.

There’s really no better word to describe this film than ‘meta’, a term that frequently made me cast my eyes up to the heavens back in my film studies days. Behind the Camera features a narrative that is consciously seeking to replicate itself. However, while the A plotline (featuring E as the director) is presented as a documentary it is almost impossible to trust the filmmaker. His intentions are very playful and most of the protagonists in the film don’t trust him, so why should we? Fact and fiction become blurred to the point where we are prompted to ask ourselves what we find acceptable as a narrative. E’s point (if he is indeed trying to make any) may be that very little justification is required when seeking to tell a story.