Busan 2013 Review: Mot Explores Youth in Revolt

Part of MKC's coverage of the 18th Busan International Film Festival.

By Rex Baylon

Water is the most malleable element in nature. It can inhabit different material states, i.e. liquid, gas, and solid. It can adapt itself to any shape it needs to be in and in purely literary terms water occupies a panoply of meanings, be it good, bad, or ambiguous. In Seo Ho-bin’s directorial debut, Mot (2013), water takes on the familiar meaning of a buried secret that won’t stay concealed. For Hyung-myung and his friends, the last day of high school should have been a happy memory. Hyung-myung’s friend, Sung-pil, envisions a future unrestricted by parents and teachers telling him what to do. For his sister Kyung-min the possibility of romance hangs heavily on her mind.  

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DMZ Docs 2013 Review: Unique Shaman Doc Manshin is a Sensory Thrill

I’ve been a keen fan of Korean films for over a decade and have now spent about a year and a half living within the country’s borders, yet, though I’ve been exposed to it many times, shamanism stubbornly remains a difficult part of the nation’s heritage to get to grips with. Mystical and echoing an ancient way of life, it is not merely something that fallen in stature due to the ravages of time, it is a facet of Korean culture that requires a different way of thinking.

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10 South Korean Production Companies Come Together To Form New Company

Of all the achievements that South Korean cinema has accomplished over the last decade its ability to go toe-to-toe with foreign juggernauts like Hollywood and keep it’s domestic products at the top of the heap has been its most remarkable feat. While its Asian neighbors struggle and fight against Hollywood hegemony only the South Korean film industry has consistently been able to produce content that are critical and/or commercial successes. A side effect to these glories though is that a split has formed within the industry, dividing blockbusters and small indie films into majority and niche markets.

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Busan 2013 Review: Cold Eyes Looks to the Best for Inspiration

Part of MKC's coverage of the 18th Busan International Film Festival.

Korean thrillers have earned a reputation for consistency over the years and though there may only be a few great ones, the majority of them are solid efforts. However, we’ve come to expect a lot of the same tropes as a result of this consistency, so much so that they have begun to feel too familiar over time. One of the latest offerings from the genre is Cold Eyes, which set the stage for a summer full of Korean thrillers (others included Snowpiercer, The Terror Live, The Flu and Hide and Seek). With an innovative approach to location filming in Seoul and by featuring three stars playing against type, Cold Eyes may seem familiar but it’s also a fresh and exciting addition to the genre.

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Review: Korean Indie Koala Oozes Charm

Simplicity is in rare supply in Korean cinema these days, so when a film like Koala comes along, it does so as a breath of fresh air. Nary an overwrought emotion, sad backstory nor superfluous tangent can be seen here. Instead, this refreshing new indie is straightforward and endearing as it leaves us to ponder the all too recognizable fates of its young and affable protagonists.

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Third Window Films Adds 3 More Korean Films

Dapper dresser and Third Window Films founder Adam Torel is an important figure for English speaking Asian cinema fans. His company has been responsible for bringing many important contemporary Asian titles to the West. Filmmakers like Sion Sono, Shinya Tsukamoto, Lee Chang-dong, and many more have had their films released by Torel’s company, a brand that has carefully curated a catalogue of future classics and the occasional curio. Of course with all that said it has been a long while since Third Window had any Korean films on their release slate.

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Busan 2013 Review: Moebius Is Insane and Brilliant

Part of MKC's coverage of the 18th Busan International Film Festival.

Kim Ki-duk has shocked many a festival/arthouse audience over the years, ever since he used fishhooks to terrible effect in The Isle (2000). Watching his films can be an uncomfortable experience and while he has perhaps gone overboard in the past, he's never been outrageous just for the sake of it. Spectators, for their part, have steadily become more drawn to his works. With his new feature Moebius, never has he so deliberately sought to shock them. His message, framed in a terrifying and morbidly humorous narrative that recalls the tropes and themes of Greek tragedy, is clearer than it's ever been. It's also never been quite this powerful.

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