New Korean Films: Censorships and Restrictions (2013 Week 36)

The Spy

(스파이)

A secret agent working on a delicate issue menacing the security of the country is sent to Thailand to dislodge a terrorist group. He hides his mission to his wife, an air hostess, making her believe that he’s going on a business trip to Busan. His astonishment is then huge when he stumbles on her in the streets of Bangkok, accompanied by another man. Suddenly aware that she may too hide things from him, he then tries to continue his investigation while keeping an eye on the activities of his wife.

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New Korean Films: (Too) Close Encounters (2013 Week 35)

Playboy Bong

(아티스트 봉만대)

A producer visits one of his directors on his shooting location in Bali, and is clearly not satisfied with the first scenes shot of that erotic horror film. He then takes the decision to call for help another famous director, Bong Man-dae. But the team gets soon annoyed by the authoritarian leadership of the new director, and his will to picture more nudity stirs up a revolt from the actresses. But hiding in the shadow lays the former director who is just waiting for the right moment to take revenge on the pushy playboy.

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New Korean Films: Hauting Memories, Revenants and Regrets (2013 Week 34)

Fatal

(가시꽃)

An unpopular high school student is lead by a band to break into a girl’s place and forced to rape her with them. Ten years later, he finds her by chance at the church. She did not recognize his face, and naturally he doesn’t dare to remind her of this painful memory and thus confess his identity. He seeks at all costs to redeem himself, but when he realizes that she is still overwhelmed by the trauma, he decides to take action by finding the other attackers and confront them.

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Review: The Face Reader Is a Terrific Period Yarn

Though absent from Korean marquees this year until now, the period Korean film makes a big comeback with the release of Han Jae-rim's arresting The Face Reader. Sublimely mounted, intriguingly plotted and featuring a terrific cast, this seems the ideal film for Chuseok (Korea's biggest holiday), which it was no doubt carefully tailored for.

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1st Chuseok Film Festival Takes Place Next Week

The Chuseok Film Festival, which will screen a variety of Korean films with English subtitles, is set to have its first edition during next week's national holiday. 18 films (including 13 features and 5 shorts) will be shown on September 18th and 19th at Art Nine Cinema in Seoul, located by Isu Station in Megabox on the 12th floor.

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Review - The Spy: Undercover Operation Should Have Stayed Under Wraps

Korean cinema has gotten very good at staging impressive onscreen spectacle in recent years. Though $10 million budgets used to be a rare thing, reserved for only the most ambitious and promising films, these days an abundance of these pricey projects are flooding the market. As with everywhere else in the cinema landscape, studios feel a need to continually up the ante as they worry about the diminishing attention spans of their audiences. But for every film that spends its money wisely many more appear that could easily be labeled a waste: of the production budget, as well as the audience's time. Which brings us to The Spy: Undercover Operation.

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Korean Box Office: Now You See Me Rises To First

As we head out of the summer, the major Korean releases of the season are starting to tapper off, leaving the door for America to reclaim some ground ahead of the Chuseok holiday, which will likely see the balance fall back in favor of local releases. Total ticket sales jumped 20% year-on-year to 2.46 million admissions while the domestic market share was only 39%, half of where it stood last year.

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Review: Hide and Seek Is Worth the Look

The thriller genre, one of the hallmarks of contemporary Korean cinema, seems to be as strong as ever on the peninsula these days. Many of the country's best commercial films are knee-deep in crime, sex and death, and gussied up in slick atmospheric aesthetics. This summer, as with many before, has seen its fair share of high profile thrillers grip the nation, such as Cold Eyes, The Terror Live, The Flu and now Hide and Seek.

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Korean Box Office: Hide and Seek Ekes Out Another First Place (08/23-08/25, 2013)

In the last weekend before many schools start their new terms, business had a last hurrah with 3.24 million tickets sold over the frame, approximately 30% more than last year. A new Hollywood release dampened the market share somewhat, but the take for local product still came in at a powerful 63% (versus 78% in 2012).

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PiFan 2013 - Before Sundown: Sunshine Love (2013)

Arrested development has been a very prescient theme in Western media. The man-child, geek, otaku; no matter what you call it we are living in an age where the lines between childhood and adult responsibilities have blurred. For the character of Gil-ho (Oh Jeong-se) in Jo Eun-sung’s debut feature Sunshine Love (2013), his protracted immaturity is not because of some addiction to a fantasy world, though the film is interspersed with several fantasy kung-fu sequences. No, what cripples Gil-ho is what cripples most twenty-somethings, a sense of dread as our expectations for the life we are supposed to live clashe with the reality of our situation. In the case of Gil-ho, the moment we first meet him we learn two important things about him. First, he desperately wants a position as a government bureaucrat. And second, he has failed the government exam several times already. Though an obvious change in career should be the next step for Gil-ho he seems too stubborn for this epiphany and continues on with his quest to be a civil servant.

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Korean Box Office: Hide and Seek is Lord of the Korean Thrillers

August continued to be redhot at the Korean box office as no less than four Korean thrillers duked it out for the top spot. In the end it wasn't as close a race as it seemed it was going to be but, nevertheless, a stunning 3.96 million tickets were sold over the frame, light years ahead of last year's 3.12 million. The story was even more impressive for local films as the four local thrillers that held court at the top of the chart combined for a commanding 89%, compared with 68% last year.

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New Korean Films: Impending Contagion in Theaters (2013 Week 33)

The Flu

(감기)

A new disease occurs overnight and causes confusion in all hospitals. It spreads particularly fast because the virus is propagated through the respiratory system and only needs 36 hours of incubation to cause death. Physicians, researchers and ordinary civilians are fighting to eradicate the outbreak before it is too late.

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Review: Slick Epidemic Thriller The Flu Strays Off Course

It was only last summer that Korea released its first film featuring a deadly disease when Deranged became a big hit in June. Coming from the same studio (CJ Entertainment), the new epidemic thriller The Flu, the first work from director Kim Sung-su (Beat, 1997) in 10 years, seeks to strike gold again with the same blend of star power, family dynamics and chaos.

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Korean Box Office: Another Huge Weekend for Snowpiercer and The Terror Live

Following last weekend's record breaking 4.5 million admissions bonanza, business quelled somewhat over the past frame. However, at 3.6 million, it is still on of the biggest weekends on record and significantly above last year's 3.1 million. The local market share was a mighty 78%, in line with last year. Just like last week, business was bolstered by a pair a giant productions.

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New Korean Films: Indie Films Never Die (2013 Week 32)

Oldmen Never Die

(죽지않아)

Ji-hoon went to the countryside to live with his grandfather to discharge him of farm work, but also to make sure to make a good impression to get a large share of his inheritance, thinking that he may die very soon. But it's been three years since Ji-hoon gets exhausted every day, and his grandfather seems instead to rejuvenate with each passing day. After taking a long-awaited break for a day spent in Seoul, he returns to the village and comes upon a young woman standing in front of his place who claims to be his grandfather’s girlfriend.

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Edingburgh 2013: Final Thoughts

Part of Connor McMorran's coverage for MKC of the Edinburgh International Film Festival (June 19-30, 2013).

This year’s Edinburgh Film Festival presented a wide range of films, both mainstream and independent, from many different countries. It also featured a focus on Swedish and Korean national cinemas, providing a strong selection of current works from both countries. Yet, during my time at the festival, I noticed far more of an emphasis on the Swedish selection; either through leaflets or e-mails sent out to all press members. Other than the beautiful poster for Lee Hyun-Jung’s experimental work Virgin Forest, I saw no other promotional materials for the Korean films on show this year. Also, the lack of critics in early morning screenings for works like Shin Su-Won’s Pluto left me wondering how much coverage such films would get. Despite my opening piece praising the selection of The Berlin File, does it really help to present a full view of contemporary Korean cinema if the only film critics attend is the big-budget, mainstream work?

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Edingburgh Review: Motorway (HK, 2012)

Part of Connor McMorran's coverage for MKC of the Edinburgh International Film Festival (June 19-30, 2013).

Films have the incredible ability to present the world to us in ways that are impossible in real life. They can, through the use of visual and audio techniques, create a heightened sense of awareness about particular aspects of life and allow us to experience the world in a completely new way. In other words, film morphs reality into a hyper-reality. Hong Kong filmmaker Soi Cheang has always had a very visceral quality to his works, placing emphasis on extreme violence and allowing visual style to really carry his over-the-top approach to cinema. Things changed somewhat when Cheang directed 2009’s Accident, produced by Johnnie To and made for To and fellow director Wai Ka-Fai’s studio Milkyway Image. Accident was one of the most interesting Hong Kong films of 2009, and it saw Cheang take a more reserved approach by placing an emphasis on atmosphere over intensity.

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Korean Box Office: Snowpiercer on Track as It Leads Biggest Weekend in Korean Film History

This first weekend in August is always a busy time in Korea and though this one was poised to post massive figures, few could have foreseen just how big it would be. Roughly 4.5 million tickets were sold this weekend, the first time the Fri-Sun frame has ever crossed the 4 million mark in Korea. By comparison, last year's powerful The Thieves-led frame brought in 3.69 million viewers. Even better news was a strong 80% (versus 58% in 2012) local market share, driven by a pair of huge new domestic hits.

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New Korean Films: Snowpiercer Belongs to the Front (2013 Week 31)

Snowpiercer

(설국열차)

In the near future, while an attempt to stem global warming results in a deadly new ice age. everyone is fighting for one of the few seats on a train destined to contain what’s left of humankind by traversing the world with an inexhaustible energy source. Seventeen years later, the population of passengers is split between the elite who occupy the luxurious first-class carriages at the head of the convoy, and the common people who live in the rear of the train. This is too much for Curtis and Gilliam who are fomenting a revolution whose aim is to take control of the engine, which became a sacred place with time and that only Wilford, the creator of the train, knows how to work.

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PiFan 2013: The Terror Live Can't Quite Go the Distance

In an era of oversaturation at the cineplex, with countless retreads and follow-ups dominating the marquees, sometimes a gimmick is just the trick to freshen things up. A clever and well-executed hook can seem fresh and original, but if poorly done, it can easily torpedo a film. In the case of new Korean action-thriller The Terror Live, a chamber piece that takes place entirely in a radio recording studio, the gimmick in the premise is both its saving grave and its downfall.

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Review: Bong Joon-ho's Snowpiercer Delivers the Goods

Cinema is a medium of motion and if anyone understands this, it appears to be Bong Joon-ho, whose visionary new work is a demented and stunning thrillride. In his first production outside his native South Korea, Bong has delivered his most ambitious project yet, and proves more than capable of handling an international, multilingual cast and a large budget.

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New Korean Films: Showbox Is Going All Bananas (2013 Week 29)

Mr. Go

(미스터 고)

A director of a circus troupe in China dies leaving all his inheritance to his daughter, Weiwei, 15. Among the menagerie is a gorilla named Ling Ling with which the director often played baseball and who seems to possess great playing abilities. A South Korean recruiter hears the rumor and rushes to China to hire the gorilla along with Weiwei as a coach in a team of the South Korean professional league. Very soon, Ling Ling becomes a celebrity in the sporting world, which does not take long to attract the lusts of several opposing teams.

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New Korean Films: Strong Women (2013 Week 30)

The Ring of Life

(링)

A boxer with promising talent has failed every time to qualify for the Olympics and eventually attempts suicide by self-immolation. Disabled but still alive, he devotes himself to being a coach and dreams of training the very first Olympic champion in women’s boxing. A 28 years-old scientist, who works in the most prestigious university in the country, stands as a candidate to him for a career change, while she has just successfully passed the official exams for civil service.

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Korean Box Office: Red 2 Fends of The Wolverine in Week 2

Following a burst of activity in June and early July, the Korean box office has been down a little down (though still strong) these past few weeks as we brace ourselves for what should be an enormous August. 2.56 million tickets were sold over the frame, down one sixth from last year. Meanwhile the local market was 26%, only marginally higher than this weekend last year, which stood at 20%.

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New Korean Films: The Quest For Independence (2013 Week 28)

Big Good

(경복)

Hyeong-geun is nearly 20 years old and has just finished his college entrance exams, but now he is looking for independence. While his mother is travelling, he’s entrusted to keep their apartment in order for a few weeks, but instead takes the opportunity to offer for rent a room adjacent to his mother's store. With his friends, a writer, a musician and a university student, they encounter many candidates while seeking an apartment for themselves .

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Revenge Week: Conclusion

Part of MKC's Revenge Week (July 8-14, 2013).

All good things must come to an end, and after nine days (roughly a week) and 30 articles, Revenge Week is winding up on MKC. It's been a great journey and I would like to thank everyone who contributed and of course all of you that have visited the site this week. It wouldn't have been possible without you.

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Revenge Week: Reader's Top 10 Korean Revenge Films

Part of MKC's Revenge Week (July 8-14, 2013).

We began Revenge Week with the MKC's Top 10 Korean Revenge Films and now as the feature comes to an end, here is the Top 10, as voted by you! Thanks to all who took part and if you leave a comment with your favorites, we may still just include them in the list. ;)

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Revenge Week: Hell Hath No Fury... Part II - Diary of June

Part of MKC's Revenge Week (July 8-14, 2013).

By Paul Quinn, founder of the excellent Hangul Celluloid.

Shortly after being teamed up to work together, veteran Seoul police detective Ja-young (Shin Eun-kyung) and rookie cop Dong-wook (Eric Moon) are assigned to investigate the death of a high school student who is thought to have committed suicide. An autopsy is performed, revealing a small, pill-like capsule inside the boy's body which contains a scrap of paper from a diary, with the details of a previous murder (of another high school student) written on it. When a similar capsule is also found in that victim's body, Ja-young and Dong-wook realise that both boys were, in fact, murdered by a serial killer and, convinced that the writer of the diary is the perpetrator, they set out to track him down. The only problem is, he too is dead...

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Revenge Week: MKC Thought Leaders' Corner (July 2013)

Part of MKC's Revenge Week (July 8-14, 2013).

Revenge Week has been a great success and though it's nearly over there are still a few voices to be heard. Read on to learn what the experts had to say about Korean cinema's most popular export.

To what would you attribute the prominence of revenge films in Korean cinema?

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Revenge Week: Hell Hath No Fury... Part I

Part of MKC's Revenge Week (July 8-14, 2013).

By Paul Quinn, founder of the excellent Hangul Celluloid.

Ask almost anyone with even a vague knowledge of Korean cinema about continually prevalent K-film genres or themes and at some point in their response they'll likely mention more than one example from a near plethora of Korean revenge thrillers and cinematic tales of bloody retribution. While any discussion of genre predominance is of course multi-faceted, the fact that a country's cinema can almost not fail to be influenced by its nation's psyche - inherently reflecting trials and tribulations faced nationally - to my mind speaks volumes about the origin of Korean cinema's regular and ongoing use of revenge narratives: By its very definition, revenge comes as a direct response to wrongs suffered, oppression and/or repression and with Korea historically having had to endure not only decades of occupation by Japan - during which time repeated efforts were made by the Japanese to completely eradicate Korea as a nationality, including the banning of Korean language films from 1942 until 1945, when Korean independence was finally secured - but also subsequent years of stringent cinematic constraints and censorship instigated by the Korean government itself, the revenge genre has since provided opportunities for filmmakers to produce searing entertainment at the same time as, perhaps subconsciously, allowing a kind of audience catharsis by way of indulgence in fictional tales of vengeance and retribution where no national revenge could or would ever be sought in reality.

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Revenge Week: Filmic Self-reflexivity and Revenge in Park Chan-wook’s Cut (2004) - Part II

Part of MKC's Revenge Week (July 8-14, 2013).

By Rowena Santos Aquino

Continuing the collapse of the boundaries between filmmaking and real life, when the director comes to, he finds his hands tied behind his back and cinched at the waist with a red band to curtail his movement and his wife gagged and her seated body woven into the piano as if condemned to play the instrument for all eternity. But as a shot reveals, what looks to be their home, where the unnamed avenger first appears, is actually the film set used at the beginning of the film. Who is the director and who is the actor now?

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Revenge Week: Recent “Women's Revenge” Films and The Curious Case of Bedevilled

Part of MKC's Revenge Week (July 8-14, 2013).

By Kyu Hyun Kim, Associate Professor at UC Davis and koreanfilm.org contributor.

Revenge is a mostly human behavior (I am loath to call it “uniquely” human: who knows, maybe there really is a killer whale like Orca, who chased and eventually knocked Richard Harris' brain all over an Arctic glacier, because the latter killed his pregnant mate. No idea what movie I am referencing? Can’t say I blame ya). Animals retaliate but do not dwell on the feelings of resentment, the sense that an injustice was done to them, the way humans do. An ant colony fights back when it is invaded by other colonies. However, when they lose a territorial war, they either get exterminated or absorbed into the winning side's community: there are no “buts” about the outcome. I doubt a soldier ant goes after the queen ant of the invading colony in a suicide mission of avenging her own queen, or deaths of her sister larvae.

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Korean Box Office: Pacific Rim Cashes in on Korea's Robot-philia

Business was a healthy 2.62 million admissions (in line with last year) over the frame as two big releases duked it out for the top spot. The local market share was down to 40%, well below last year's 60% but unsurprising given the big new release the past weekend.

	Title	Release Date	Market Share	Weekend	Total	Screens
1	Pacific Rim (us)	13/07/11	44.30%	1,160,636	1,372,731	1005
2	Cold Eyes	13/07/03	34.60%	1,003,049	3,540,435	801
3	World War Z (us)	13/06/20	11.60%	345,896	4,891,909	383
4	Killer Toon	13/06/27	3.50%	107,173	1,091,116	244
5	Lone Ranger (us)	13/07/04	1.20%	34,668	370,829	229
6	Secretly Greatly	13/06/05	1.10%	34,319	6,932,959	141
7	The Adventures of Jinbao (ch)	13/07/04	0.80%	25,199	71,029	116
8	Side Effects (us)	13/07/11	0.70%	18,697	23,441	170
9	The Croods (us)	13/05/16	0.30%	8,998	936,699	39
10	The Master (us)	13/07/11	0.20%	6,561	9,282	38

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Revenge Week: The Vengeful Ripples of Bong Joon-ho’s Mother

Part of MKC's Revenge Week (July 8-14, 2013).

Outside of a few clear candidates, pinpointing revenge films isn’t quite as easy as it seems. Case in point is Bong Joon-ho’s Mother (2009). When I first considered it, I hesitated, but after watching it again this past weekend, it became clear that this is a film teeming with revenge, yet not for the reasons that I had at first considered.

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Revenge Week: Filmic Self-reflexivity and Revenge in Park Chan-wook’s Cut (2004) - Part I

Part of MKC's Revenge Week (July 8-14, 2013).

By Rowena Santos Aquino

We all know what revenge is as an act: a self-serving system that goes beyond in the absence of, or rejects, institutional justice. In short, when one has been wronged physically and emotionally or has witnessed another experience, and acts privately and accordingly, based on one’s ethical line, to punish who has committed that wrong. As film scholar Steve Choe writes, ‘Vengeance requires the existence of a past transgression or trauma, which demands that it be met with equal compensation in the present’ (30). Even more summary still, revenge is about personally ‘getting even’ and (idealistically) bringing about a moral parity but often through immoral ways.

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Revenge Week: Trailers of Revenge! Day 6

Part of MKC's Revenge Week (July 8-14, 2013). This daily series comes courtesy of Tom Giammarco, the author of the Seen in Jeonju website, surely one of the best resources for information on classic Korean cinema on the web. Enjoy!

This will be the final entry that I have for REVENGE WEEK and I wanted to save the best for last. Yesterday’s theme of having a hitherto unknown family member exacting revenge on a victim touches a little on today’s theme of a stranger in the house.

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Revenge Week: Vengeance Trilogy DVD/Blu-ray Giveaway!

Part of MKC's Revenge Week (July 8-14, 2013).

Just a few days left in Revenge Week now and the very kind people from Palisades Tartan have reached out to us to give a few lucky readers the chance to win Park Chan-wook's entire Vengeance Trilogy on DVD or Blu-Ray!

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Revenge Week: Trailers of Revenge! Day 5

Part of MKC's Revenge Week (July 8-14, 2013). This daily series comes courtesy of Tom Giammarco, the author of the Seen in Jeonju website, surely one of the best resources for information on classic Korean cinema on the web. Enjoy!

Incest as a tool of revenge must surely be one of the most shocking methods of achieving vengeance. The role it played in the most popular of Park Chan-wook’s Vengeance Trilogy shocked audiences around the world with both its venom and its creativity. The more recent Dirty Blood features a young woman intent on getting revenge on her father and begins a sexual relationship with him without him knowing her real identity. Are these cases unique in Korean cinema? The answer, of course, is ‘No.’

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Revenge Week: THE REVENGE LIST

Part of MKC's Revenge Week (July 8-14, 2013).

If Revenge Week has achieved anything, it's confirmed beyond any doubt just how prevalent the theme of revenge is in Korean cinema. But exactly how many are there? That's a hard question to answer but here's our shot at a list covering every Korean revenge film we could think of.

This list is far from exhaustive and we encourage suggestions to improve it! Let us know what you think is missing in the comments below, on facebook or on twitter.

We also hope to create a user list of the best Korean revenge films this week so please use this a resource and tell us five of your favorites.

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Revenge Week: Exploring Themes of Vengeance in Small Town Rivals (2007)

Part of MKC's Revenge Week (July 8-14, 2013).

(By Connor McMorran)

Two childhood friends have grown up to be very different people. Choon-sam, despite being popular at high school, has amounted to very little in life and has reluctantly accepted the position of village chief. On the other hand, Dae-gyu, who was something of an outsider at school, has just been elected as the local magistrate. As these two reunite to fix aspects of Choon-sam’s village, their memories of various wrong-doings, coupled with manipulation from outside sources, causes them to become rivals. They begin a game of one-upmanship, both of them too proud to admit defeat. This all comes to a head in the third act of the film, and the two come to blows. Their battle carries a sense of tragedy, as they have both been corrupted to the point of betraying their closest childhood friend.

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