Jeonju 2013: Cheer Up Mr. Lee (힘내세요, 병헌씨, 2012)

Part of MKC's coverage of the 14th Jeonju International Film Festival.

If you watch a lot of films, it’s hard not to get at least a little excited when a new film about filmmaking comes along. While not a golden recipe for surefire success, the subgenre yields a surprisingly strong crop of works, in part due to their self-deprecating nature. The Woodman and the Rain, This Is Not a Film and The Woman in the Septic Tank are among the many recent films to successfully go down this route. Not to mention that the old adage holds, you should write about what you know.

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Jeonju 2013: Groggy Summer (그로기 썸어, 2013)

Part of MKC's coverage of the 14th Jeonju International Film Festival.

As viewers, sometimes we take for granted the decisions made by filmmakers that affect their works. A lot is decided in pre-production and one particularly important element is a film’s shooting style. Outside of a few highly stylized works, the language that a film’s crew uses to tell a story is remarkably similar from film to film. A wide establishing shot opens a scene, mid-shots introduce characters and relationships, and close-ups get down to the nitty gritty of details and emotions. In fact, we’ve become so accustomed to this style of shooting that anything else is jarring.

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UDINE 2013: How to Use Guys with Secret Tips (남자 사용설명서, 2013)

Part of MKC's coverage of the 15th Udine Far East Film Festival.

Being one of the more tired genres to litter the multiplexes, every so often romantic comedies need a little boost to remind us that they can be worthwhile. Out of all of the national industries that regularly churn them out, this seems to happen the most often in Korean cinema. Many western film viewers were introduced to the country’s cinematic output through the contemporary classic My Sassy Girl (2001), which launched the careers of both Jeon Ji-hyun (The Thieves) and Cha Tae-hyun (Speedy Scandal, 2008).

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Jeonju 2013: December (디셈버, 2013)

Part of MKC's coverage of the 14th Jeonju International Film Festival.

These days, in a bid to stand out from a crowded field, a lot of young filmmakers experiment with their chronologies. While there’s nothing wrong with experimenting with form, it’s very important to have a strong narrative before playing around with it. Jeonju competition film December follows this trend, but does it get away it?

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UDINE 2013: The Thieves (도둑들, 2012)

Part of MKC's coverage of the 15th Udine Far East Film Festival.

The most anticipated Korean film of the year, with its dazzling cast and international locations, opened late last month and has since become the biggest domestic box office behemoth in years. The Thieves, Choi Dong-hoon’s fourth feature, following The Big Swindle (2004), Tazza: The High Rollers (2006), and Woochi: The Taoist Wizard (2009), is his most ambitious yet. It is a vibrant and complex heist movie with one of the most high profile casts ever assembled for a local production.

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UDINE 2013: A Muse (은교, Eungyo, 2012)

“No Muse-poet grows conscious of the Muse except by experience of a woman in whom the Goddess is to some degree resident…A Muse-poet falls in love, absolutely, and his true love is for him the embodiment of the Muse... But the real, perpetually obsessed Muse-poet distinguishes between the Goddess as manifest in the supreme power, glory, wisdom, and love of woman, and the individual woman whom the Goddess may make her instrument... The Goddess abides; and perhaps he will again have knowledge of her through his experience of another woman...”

-       Robert Graves

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UDINE 2013: Divorce, Korean Style: All About My Wife (내 아내의 모든 것, 2012)

Part of MKC's coverage of the 15th Udine Far East Film Festival.

(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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