Lee Man-hee's The Road to Sampo (삼포 가는길, Samo Ganeungil) 1975

Korea is not known for road movies and given that the country is smaller than many US states, this hardly comes as a surprise. Nevertheless, some of its most celebrated films take place on the road. Displaced characters have trudged along Korea's weather-beaten paths in search of a home in many a Korean film. Examples include Im Kwon-taek's Sopyeonje (1993), a mournful paean to the Pansori tradition (a style of sung folk narrative featuring a vocalist and a percussionist), and Lee Man-hee's ebullient swan song, The Road to Sampo (1975).

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New Korean Films: The Shifting Sands of Indie Films (2013 Week 13)

(by Fabien Schneider)

This week is the calm before the storm: I have only two independent films to introduce to you, and both will only have limited distribution. But this is not a reason not to be interested in them, because they are two quite original projects.

Following Sand River

(모래가 흐르는 강)

 

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14th Jeonju Film Fest Reveals Lineup!

The Jeonju International Film Festival (JIFF) will be returning for its 14^th edition next month when it gets underway on April 25^th with its opening film Foxfire, the new film from Laurent Canet, who was behind the 2008 Palme d’Or winner The Class and will also serve as the president of this year’s international jury. JIFF will come to a close on May 3 with a screening of Haifaa Al Mansour’s Wadjda, the first Saudi Arabian film to be directed by a woman.

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Korean Box Office: Strong Start for Very Ordinary Couple (03/22-03/24, 2013)

Strong Start for Very Ordinary Couple

March is generally not a busy period for movies and South Korea is no exception. After a rocket-fueled start which saw records fall as local films dominated (Miracle in Cell No.7, The Berlin File, New World, etc.) and almost completely shut out Hollywood, things have settled down considerably as the industry lies in wait for what is likely to be a gargantuan summer season. That said, at 1.69 million admissions, business was up slightly and the market share occupied by domestic films was still very strong at 67%. 

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Re-encounter (혜화,동, Hye-hwa, Dong) 2010

(by refresh_daemon)

Re-encounter is a Korean independent film that managed to garner a number of awards from festivals as well as a couple of high profile nominations, so it has been on my radar for some time. After watching it, I can easily see how its exploration of loss and coming to terms with unresolved hurt in the past, coupled with a subtle, yet memorable performance from lead actress Yu Da-in managed to convince festival juries and audiences. The film's attention to detail when it comes to the title character's behavior wraps its personal drama together well and although the final act is a touch more forced than the rest of the film, by the time the credits roll, the examination of Hyehwa's character has won so much good will that it's hard not to appreciate the film.

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New Korean Films: Rememberance of the Lost Ones (2013 Week 12)

(by Fabien Schneider)

Eating, Talking, Faucking 

(생생활활) 

Eighteen characters are brought together in sketches with original situations, and the topics of all their discussions quickly turn to sex: a 70-year old man who returns to childhood by chatting with teenagers, a suicidal soldier and a serial killer, a naturist blind-date, or God trying to regulate the desire in his first two attempts at making humans, are only a few of these strange stories.

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Fribourg 2013: National Security (남영동1985, Namyeong-dong 1985) 2012

Playing at the 27th Fribourg International Film Festival (March 16-23, 2013)

Corruption, injustice and terror have always been a sad reality of politics. Over the years, many filmmakers have gone to great lengths (sometimes even putting their lives in peril) in a bid to give a voice to the victims of political malfeasance and to shed light on the frequently covered-up truths within the halls of power. Notable examples include Pontecorvo’s The Battle of Algiers (1966) and Costa-Gavras’ Z (1969). Among the pantheon of political works it is true that those that endure are the ones that shock; works that can elicit an audible gasp from audience members. However, a filmmaker must be careful not to go too far and should also pay due consideration to narrative and filmic requirements when presenting a politically charged narrative on screen.

Chung Ji-young made a big comeback following a 13-year absence this time last year when Unbowed debuted at the 16^th edition of the Busan Film Festival. Hot on its heels and proving that it wasn’t a fluke, he has returned with a searing indictment of the brutal Chun Doo-hwan administration that terrorized Korea for the better part of the 1980s.

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