New Korean Films: Is There Room For Yet Another Thriller? (2013 Week 10)

(by Fabien Schneider)

This week will probably see no new hit for Korean films and thus should maintain the established order at the box office. With a short movie for film buffs and a collection of independent short films in very limited distribution, only Psychometry has the ability to attract thousands of spectators, but finds itself in the worst possible situations, being released after two big successful thrillers.

Psychometry

(사이코메트리) 

 

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Why Hollywood Genre Flicks Need Korean Film, Not Korean Filmmakers

(by Peter Gutiérrez)

Here’s a snobby confession for you: I don’t read the New York Times much for insights into international cinema. But when it recently ran a piece entitled South Korean Crossover in Hollywood, I had to pay attention. Rather predictably it compared and contrasted Bong Joon-ho, Park Chan-wook, and Kim Ji-woon, taking an approach that cited previous waves of foreign-born directors arriving in the US and making the entire issue seem like one of immigration.

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BIFF 2012: Perfect Number (용의자X, Yong-eui-ja-X) 2012

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

I originally saw Bang Eun-jin’s sophomore film Perfect Number at the Busan International Film Festival last October. I am a big fan of the Japanese book (‘The Devotion of Suspect X’ by Keigo Hegashino) that it was based on and as I felt that the story would be a great fit for Korean cinema my expectations were very high. Too high it seems as I found myself a little disappointed by a film delivering something I wasn’t expecting.

A reclusive math teacher is smitten with his next-door neighbor who lives with her niece. One day her ex-husband comes to visit and a violent altercation ends with his lifeless corpse hitting the ground. The teacher has heard what transpired and knocks on their door. Quiet, composed and intelligent, he offers to help his distressed neighbors.

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KBO: New World Repeats up Top, Stoker Unconvincing (03/1-03/03, 2013)

New World Repeats up Top, Stoker Unconvincing

	Title	Release Date	Market Share	Weekend	Total	Screens
1	New World	13/02/21	29.40%	849,376	2,530,048	604
2	Miracle in Cell No.7	13/01/23	25.10%	777,968	11,704,634	577
3	Jack the Giant Slayer (us)	13/02/28	19.40%	545,550	659,854	507
4	The Berlin File	13/01/30	6.40%	189,296	6,997,749	362
5	Stoker (us)	13/02/28	5.80%	165,408	240,639	329
6	12 Chinese Zodiac Heads (cn)	13/02/27	5.20%	162,566	217,242	300
7	Delhi Safair (In)	13/02/21	2.50%	83,606	280,563	263
8	The Giant King (us/th)	13/02/21	1.00%	33,808	149,067	180
9	Sky Force 3D (us, hk)	13/02/28	0.90%	30,991	43,496	183
10	An Ethics Lesson	13/02/21	0.60%	18,065	215,985	147

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MKC Thought Leaders' Corner: February 2013

This month, we take a look at the star system in Korea. February's roster of experts take a look at the many stars in the Korea film industry, many of them hailing from the realms of Kpop and Kdrama. This month's question:

How valuable are stars in the Korean film industry?

Many to thanks to all the contributors for their time and insightful comments. Responses listed alphabetically, followed by the thoughts of MKC's teammembers.

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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  (누구의 딸도 아닌 해원)

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Divorce, Korean Style: All About My Wife (내 아내의 모든 것, Nae Anaeui Modeun Geot) 2012

(by Rex Baylon)

There used to be a time when America was known as a manufacturing giant. In agriculture, electronics, and automobile design America seemed not to have any contenders. With regards to film, Hollywood was the first and last word when it came to cinema. Even as the US began its slow decline, the soft power of American cinema never seemed to waver even through all the social upheaval of the twentieth century; while presidents came and went, one hit wonders rose and fell, and wars were won or lost, Hollywood never lost its luster in the eyes of foreign and domestic audiences.

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