BIFF 2012
The 17th Busan International Film Festival is exactly one month away and the news is starting to come in thick and fast. MKC will be on site for the entire event:
Wednesday, September 5, 2012
KCN: Park Chan-wook takes on Western, Pieta at Venice and Busan Heats Up! (08/30-09/05, 2012)
The bis news this week is a new Park Chan-wook project, Pieta premiering at Venice and numerous Busan Film Fest announcements
The 17th Busan International Film Festival is exactly one month away and the news is starting to come in thick and fast. MKC will be on site for the entire event:
The 17th Busan International Film Festival is exactly one month away and the news is starting to come in thick and fast. MKC will be on site for the entire event:
Tuesday, September 4, 2012
PiFan 2012: The Heineken Kidnapping (De Heineken ontvoering, Holland) 2011
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Rutger Hauer’s heyday may have come before my time but as a film lover it still feels as though I grew up with him. My teenage years were spent awash in the dream of cinema and amidst the blur of it all, some films stood out. Among them was Blade Runner (1982) which, I must admit, was a film that I did not immediately warm to but the villain of the piece has stayed with me for the decade since I first I saw it. Horror may not have featured prominently in my cinema diet but I’ll never forget The Hitcher (1986), a film that could easily have been unremarkable were it not for the terrifying presence of its antagonist.
With his pellucid blue eyes, wavy blond hair and harsh features, Hauer has always been a formidable presence on screen. However, more than his physiognomy, it is of course his talent and intensity as a performer that has made him so memorable. He seems to lose himself in his best roles. I hesitate to say that he was a method actor, a term that is ill-suited to genre cinema, but he throws himself so fully into his marginalized characters that he often seems to be in a trance.
Monday, September 3, 2012
Romance Joe (로맨스 조, Lo-maen-seu Joe) 2012
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By Rex Baylon
Fractured storylines, unreliable narration and meta-narratives have all become the requisite tools of the trade for films with a postmodernist slant. The realization by filmmakers as far back as the 1960s, when the enfants terribles of France’s Nouvelle Vague tore down the barrier between good "taste" and good "cinema", have not only prompted experimentation in plot and genre, but also, on occasion, led to genuine masterpieces. Of course, there have also been a plethora of over-inflated and pretentious works that have been released to varying degrees of fanfare since then.
In writer-director Kwang-kuk Lee’s debut film Romance Joe (2011) the eponymously named Romance Joe is both an actual character in the movie, played by Kim Young-pil and Lee Da-wit, and an invention: a plot device, utilized by several characters in the film when telling their own personal/invented stories about the pain of love and the ways that fiction and fact can bleed together.
KBO: Traffickers and Local Releases Dominate Chart (08/31-09/02, 2012)
Traffickers and Local Releases Dominate Chart
| Title | Release Date | Market Share | Weekend | Total | Screens | |
| 1 | Traffickers | 8/29/12 | 26.40% | 533,243 | 749,694 | 497 |
| 2 | Neighbors | 8/22/12 | 21.20% | 425,597 | 1,914,969 | 494 |
| 3 | The Grand Heist | 8/8/12 | 13.20% | 289,126 | 4,595,784 | 361 |
| 4 | The Thieves | 7/25/12 | 12.70% | 265,435 | 12,591,574 | 365 |
| 5 | Abraham Lincoln: Vampire Hunter (us) | 8/30/12 | 10.00% | 188,955 | 237,799 | 337 |
| 6 | Step Up 4 (us) | 8/15/12 | 4.40% | 94,188 | 849,187 | 194 |
| 7 | R2B: Return to Base | 8/1/12 | 2.30% | 51,498 | 1,172,907 | 141 |
| 8 | 577 Project | 8/8/12 | 2.30% | 48,395 | 62,534 | 191 |
| 9 | Total Recall (us) | 8/15/12 | 1.60% | 34,037 | 1,206,506 | 153 |
| 10 | Sammy's Adventures 2 (ge) | 8/23/12 | 1.30% | 29,268 | 1,438,477 | 88 |
Saturday, September 1, 2012
PiFan 2012: Zombie 108 (城Z-108, Taiwan) 2012
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Part of MKC's coverage of the 16th Puchon International Film Festival.
Of the many genres out there available for our consumption, the zombie film holds a very special place in our cinematic diet. It is actually a subgenre, being an offshoot of horror but, just like the vampire film, it as been allowed to ascend to its own autonomous position, to be taken into consideration separately from its parent. Naturally, this comes with particular set of problems.
Zombie films occupy a very narrow field within the medium. As potent as the concept can be, it only encompasses a specific set of tropes and narrative devices which have arguably survived long past their sell-by date. George A. Romero set off the genre in the late 1960s with Night of the Living Dead but 35 years later his own efforts have begun to look tired and recycled. In fact, the most popular zombie films of the last few years have arguably been comedies which poked fun at the genre, such as Shaun of the Dead (2004) and Zombieland (2009), as well AMC’s series The Walking Dead, which employs the novel approach of following a zombie narrative in longform.
Friday, August 31, 2012
WKR: Neighbors, R2B and Ample KOFFIA Coverage
Lots of current films reviewed in this week's WKR and a wide selection of recent releases, largely stemming for the ample KOFFIA coverage.
CURRENT FILMS
(The Korea Times, August 30, 2012)
(Joong Ang Daily, August 24, 2012)
(Seongyong's Private Place, August 26, 2012)
8th Jecheon International Music & Film Festival Wrap-up
Part of MKC's coverage of the Jecheon Intl. Music & Film Festival.
It took me a while to gather my thoughts on the eight films I saw during my brief weekend at the 8th Jecheon International Music & Film Festival but now that I've really had the time to think about it, I can say that it was well worth my time. I saw some very good films and a few bad ones but most of all the event reminded me that I'm actually a huge music enthusiast. These days as I try to keep up with everything going on in the film world, it's very easy to forget that. I often go weeks at time without ever opening iTunes. So for that, as well as the great films I did see, I am grateful for the Jecheon film festival and I will gladly be returning for its 9th edition next year.
Thursday, August 30, 2012
JIMFF 2012: Punk's Not Dead (Pankot ne e mrtov, Macedonia) 2011
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Part of MKC's coverage of the Jecheon Intl. Music & Film Festival.
Each of us loves different styles of music. Our tastes are informed by many factors: style, geography, language, instrumentation, tempo, etc. We fill our computers and smartphones with these (more ardent enthusiasts may still curate record collections). However, some people will go to extra lengths to associate themselves to a certain style. They may customize their appearance or ascribe to particular ideologies. Politics and social issues can come into it but other times the music might be a gateway to something else entirely: community. The need to belong is strong and for those of us that cannot or do not want to follow the status quo, there is always a danger of being marginalized. Luckily, in this day and age, we are fortunate enough to have the opportunity to pick and choose from many different lifestyles. Non-conformity no longer comes with the same stigma as it once did.
As the title suggests, Punk’s Not Dead is a film about one of the most abrasive genres of music to emerge in the modern era. However, very luck little punk music is actually featured in the film and that’s because the focus thing here is on the sense of community that is created around the music. The protagonists are lost: wandering aimlessly in the decrepit landscape of modern Macedonia. Pushing 40, they are looking a little rough around the edges: leather jackets cover their wearied shoulders; piercings and tattoos adorn their wrinkled skin. They have lived life but time has passed them by and new circumstances have rendered them redundant and mute: their protests are now a whimper of what they once were. Rather than living the punk lifestyle and reveling in anarchy, they merely cling to the scene as a pretext for their existence. It is a social outlet in a world where few are available to them, the booze and drugs are a respite from the bleak landscape there are immersed in.
PiFan 2012: Young Gun in the Time (영건 탐정 사무소, Yeong-geon Tam-jeong Sa-moo-so) 2012
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Part of MKC's coverage of the 16th Puchon International Film Festival.
Aside from technical proficiency, I’m always amazed at Korean filmmakers’ knack for thrift. Their films, compared to Hollywood's output, barely cost a dime. A $10 million dollar budget is enough to put out a film like The Host or The Thieves, whereas similar productions in the States will go for ten times more. The cost of living is cheaper and there are other mitigating factors but the level of these productions’ sophistication is nonetheless impressive.
A look down the ladder at the low-budget fare produced in the country inspires even more awe. The beautiful and languid Bedevilled cost a measly $70,000 and many other films around that budget range feature similarly accomplished production values. Oh Young-doo 2011’s feature Invasion of Alien Bikini made quite a splash on the festival circuit and part of it was because it reputedly cost only $5,000, all of it stretched to a remarkable degree. Though at the end of the day that was still identifiable as an ultra low-budget production. His new film cost $50,000 but from an aesthetic standpoint it puts many commercial features to shame.
Modern Korean Cinema Turns 2!
A year ago I took the time to thank you all and reflect on how much Modern Korean Cinema had grown in the preceding 12 months. I also expressed a hope that it could grow and improve in the future. Now, as we pass the two-year mark, things have truly kicked off. The readership is up 500% and the amount of content in our second year has trebled. So the time has come again to extend a big thank you to all of you who have helped to bring the site to where it is today. Without you this wouldn't be possible and there also wouldn't be much a point as this site is about sharing a passion for Korean cinema.
Wednesday, August 29, 2012
JIMFF 2012: Abba (阿爸, Taiwan) 2011
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Part of MKC's coverage of the Jecheon Intl. Music & Film Festival.
Though not always convinced by the films, the Jecheon Intl. Music & Film Festival was definitely a period of musical discovery for me. It reawakened my love for Tropicalia and Serge Gainsbourg, made me wish I had more time to play my guitar (Jason Becker: I’m Not Dead Yet) and introduced me to flamenco singing (Morente). On the flipside I also discovered that I am not too keen on Thai country music (The Moon). The Taiwanese documentary Abba (which features a number of flashback scenes) led me to more uncharted territory as it immersed me in Taiwan's pop music scene.
This doc’s subject is Hong Yi-feng, the late King of Taiwanese Pop. Much of the proceedings involve the staging of a tribute concert being put on by his three sons (themselves successful artists) following his death. It’s a tribute film that commemorates his achievements as a pioneering musician in Taiwan but it is also a portrait of a deeply flawed man who was a strict father, an adulterer and ultimately an absentee family man. Most of the film is told from the viewpoint of his sons, all of whom are grown up with their own families.
KCN: Oscar Shortlist, Festival News and Trailers (08/23-08/29, 2012)
Oscar news this week and a number of festival items, not to mention posters and trailers.
KOREAN CINEMA NEWS
A team is being assembled by the Korean Film Council to deliberate over the merits of five recent Korean features hoping to become to next selection to represent the nation in the Foreign-Language Oscar race. This year's contenders include Im Sang-soo's Taste of Money, Hong Sang-soo's In Another Country, Kim Ki-duk's Pieta (which is having its world premiere next month at Venice, the gangster pic Nameless Gangster and Lee Byung-hyun period drama Masquerade, which opens next month in Korea.
Over the past few years there has been some consternation regarding the eventual picks, which have included Crossing (2008), A Barefoot Dream (2010) and The Front Line (2011). Films that seemed to have far better potential have been passed over, such as Lee Chang-dong's Poetry or the popular hit Sunny. This year's crop does not inspire a great deal of confidence (though few have seen the latter two yet) and imagine that 2013 will be another year without a Korean Oscar nominee. To date not a single Korean film has ever been selected. (Modern Korean Cinema, August 29, 2012)
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