KBO: A Werewolf Boy Claims 4th Win During Crowded Weekend (11/23-11/25, 2012)

A Werewolf Boy Claims 4th Win During Crowded Weekend

	Title	Release Date	Market Share	Weekend	Total	Screens
1	Werewolf Boy	10/31/12	24.80%	550,880	6,015,700	595
2	Twilight: Breaking Dawn Part 2 (us)	11/15/12	21.50%	468,965	1,940,783	536
3	Don't Cry Mommy	11/22/12	19.20%	425,916	538,138	444
4	Confession of Murder	11/8/12	15.10%	310,819	2,109,450	382
5	National Security	11/22/12	6.90%	147,759	188,020	310
6	Masquerade	9/13/12	2.80%	62,631	12,064,506	166
7	Rise of the Guardians (us)	11/29/12	2.80%	50,523	56,850	197
8	Iron Bag Man	11/22/12	1.20%	26,250	42,208	119
9	Tone Deaf Clinic	11/29/12	1.20%	25,876	42,251	203
10	Skyfall (us/uk)	10/26/12	1.10%	23,232	2,349,440	122

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BIFF 2012 Interview: Stepping Behind the Lens - Yu Ji-tae Discusses His New Career Path

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

One of Korea's most recognizable faces, actor Yu Ji-tae has been at the forefront of the Korean film industry since its renaissance in the late 1990s. He first made a splash in Kim Sang-jin's anarchic Attack the Gas Station (1999). Following his romantic roles in Ditto (2000) and Hur Jin-ho's One Fine Spring Day, Yu switched gears to play the villain in Park Chan-wook's seminal Oldboy (2003), elevating his visibility to a global level along the way.

Though still an active actor, over the last few years Yu has also forged a path for himself as a short filmmaker. At this year's Busan International Film Festival he finally unveiled his acclaimed debut feature Mai Ratima. He kindly took some time out of his busy schedule to talk with MKC about his new role behind the camera and the state of independent filmmaking in Korea.

And yes, he is quite tall...

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WKR: New Indie Releases Take Center Stage (11/17-11/23, 2012)

Juvenile Offender and National Security were both released and reviewed this week while Rain's R2B: Return to Base and The Thieves get a few writeups in this week's Weekly Korean Reviews update.

UPCOMING FILMS

El Condor Pasa

(Modern Korean Cinema, November 20, 2012)

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KCN: Korean Films Sell 100 Million Tickets in 2012 + New Footage for The Host 2 (11/15-11/21, 2012)

Korean film industry hits yet another major milestone in 2012 while some footage for the long-awaited sequel to The Host (2006) drops out of nowhere. However, outside of these items and a number of small festival tidbits, it wasn't a big week for Korean film news.

KOREAN CINEMA NEWS

First Horrific Footage for The Host 2
No beating around the bush here! A clip of the long-awaited Korean horror flick The Host 2 goes straight for the jugular with the hungry creature wrecking havoc upon an unsuspecting family, tearing up on a moving truck, and then chasing two innocent children for a quick snack. Oh my, I wouldn't want to be in the shoes of these kids when the shit hits the fan. (Twitch, November 20, 2012)

Korean Films Draw Over 100 Million Viewers This Year
Korean movies have drawn over 100 million viewers in 2012. The Korean Film Council on Monday said the number of people watching Korean films this year totaled 99.61 million as of Sunday. "Since at least 200,000 people on average watch Korean movies on a weekday, the 100-million mark will be reached on Tuesday," a council spokesman said. (The Chosun Ilbo, November 20, 2012)

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BIFF 2012: El Condor Pasa (콘돌은 날아간다, Kondoleun Nalaganda) 2012

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

A regular staple at the Busan Film Festival, Jeon Soo-il is a local filmmaker whose body of work has steadily brought him acclaim and accolades from around the world. He is not as famous as some of the more prominent arthouse Korean filmmakers but nonetheless he is an important figure from Korea’s independent film scene.

Now on his seventh feature, Jeon Soo-il’s style, which has always been unique but malleable, has of late, become more concrete. Last year’s Pink (also a Busan Film Festival selection) was a small breakthrough for him, earning him more recognition than his previous works. Though not an easy film (none of his works are), Pink was much more accessible, due in large part to the careful and gorgeous visual aesthetic through which he carved his narrative. With its muted, earthy color palette, and deliberate compositions, which emphasized the distance between the story’s various protagonists, his film, despite its frequent silences and stillness, teemed with life.

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KBO: Werewolf Boy Fights Off Twilight For Third Win (11/16-11/18, 2012)

Werewolf Boy Fights Off Twilight For Third Win

	Title	Release Date	Market Share	Weekend	Total	Screens
1	Werewolf Boy	10/31/12	34.40%	901,842	5,093,692	678
2	Twilight: Breaking Dawn Part 2 (us)	11/15/12	34.60%	880,700	1,080,756	665
3	Confession of Murder	11/8/12	17.20%	416,119	1,538,341	388
4	Code Name: Jackal	11/15/12	4.10%	109,017	141,284	301
5	Masquerade	9/13/12	3.80%	98,383	11,933,678	283
6	Skyfall (us/uk)	10/26/12	2.70%	69,181	2,285,115	239
7	Sinister (us)	11/15/12	1.10%	26,386	33,809	183
8	Upside Down (us)	11/8/12	0.40%	11,328	169,384	107
9	Jungle Emperor Leo (jp)	11/8/12	0.30%	9,984	38,984	56
10	Brave (us)	9/27/12	0.20%	5,424	1,228,682	34

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KOFA Treasures: Kim Soo-yong's The Seaside Village (갯마을, Gaenmaeul) 1965

Ongoing series on classic Korean film recently made available for free and with English subtitles on Youtube courtesy of the Korean Film Archive.

During this year's 14^th Udine Far Easy Film Festival I had the great privilege and pleasure of attending Darcy Paquet’s 1970s Korean cinema retrospective. As it turns out, among the ten features presented, some of my favorites were island dramas.  The three that were programmed (Iodo, 1977; Splendid Outing, 1978; and The Divine Bow, 1979) were fascinating works that were both quasi-horrors and compelling films about women, which highlighted their marginalized roles in society.  Characters in these films, especially women, were either transplanted to remote fishing islands, which for them became sites of horror, or grew up there without ever leaving, any attempts at escape doomed from the outset.

Kim Soo-young was behind Splendid Outing, a film that shares an enormous amount in common with Bedevilled (2010), to the point where it would not surprise me if it was actually the blueprint for Jang Chul-soo’s incendiary film. However, long before that, Kim made The Seaside Village, a stunning and deeply textured work from 1960s Korean cinema, which dabbles in some taboos that would likely not have been tolerated by the government at the time.

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