Coming Attractions: Can EMPIRE OF LUST Keep the Fires of the Period Drama Burning?

By Rex Baylon

The period drama boom in the Korean film industry seems to show no signs of abating as March will see the release of Empire of Lust, Ahn Sang-hoon's third feature after Arang (2006) and Blind (2011). The film stars Shin Ha-kyun (Save the Green Planet, 2003), playing Kim Min-jae, the supreme commander of the Joseon dynasty, Jang Hyuk (The Flu, 2013) as the king's son, and Kang Ha-neul (Mourning Grave) as Min-jae's hedonistic son.

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News: Bong Joon-ho to Sit on Berlinale International Jury

By Pierce Conran

The Berlin International Film Festival just held a press conference to announced the full jury for the international competition of its 65th edition next month. Bong is also part of this year's Berlinale Talents, where he will give a talk on transnational filmmaking. His last film Snowpiercer was screened at Berlinale in 2014.

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News: HAN GONG-JU Named Best Film by Korean Film Reporters Association

By Pierce Conran

Lee Su-jin's Han Gong-ju has been named the Best Korean Film of 2014 by the Korean Film Reporters Association. The group also voted the film's star, Chun Woo-hee, as last year's Best Actress, while veteran Choi Min-sik was deemed Best Actor for his performance in the record-breaking period smash Roaring Currents.

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News: Busan Asks BIFF Director to Step Down, He Refuses (2nd UPDATE)

By Pierce Conran

2nd Update (01/27) - Though the basic facts remains the same (refer to the original post and 1st update below), here is some clarification on the current situation, as explained in a Screen Daily article:

• Last Friday (January 23rd), BIFF Director Lee Yong-kwan met with Jung Gyung-jin, Busan's vice mayor for administrative affairs, and culture and tourism bureau director-general Kim Kwang-hee. Citing the poor results of a recent audit (which were not shared with Lee), they suggested he should step down. Lee inquired as to whether they were conveying Busan Mayor Suh Byung-soo's opinion. They confirmed this to be the case.

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Review: Straightforward Action in NO TEARS FOR THE DEAD

By Hieu Chau

Writer-director Lee Jeong-beom made a big splash in 2010 when his confidently made action feature The Man from Nowhere became a box office hit in South Korea. It made a believable action star out of its lead, Won Bin, and had an emotional core that helped it lean closer towards other, well-established action films of its ilk such as Luc Besson’s Leon: The Professional (1994) or Tony Scott’s Man on Fire (2004). Lee follows a similar format with his newest ultraviolent follow up, No Tears for the Dead, which at times feels like it could have been another Tony Scott film.

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Coming Attractions: A MATTER OF INTERPRETATION Leaves It Up To You

By Rex Baylon

Lee Kwang-kuk returns after a two year hiatus with his sophomore film A Matter of Interpretation. For those who might have forgotten, Lee spent his formative years as assistant director to festival darling Hong Sangsoo before finally debuting as director with 2012's Romance Joe.

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Reel Talk: GANGNAM BLUES and Korean Gangster Cinema

Every Friday I appear on a segment called Reel Talk for Arirang TV on the 2 o'clock news, mostly covering Korean cinema.

I've made no secret of my love for Yoo Ha's comeback Gangnam Blues (you can read MKC's review here) and this week on Reel Talk I took the opportunity to sing its praises and briefly look back over the rich history of Korean gangster cinema.

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Review: GANGNAM BLUES, a Gorgeously Overwrought Gangster Classic in the Making

By Pierce Conran

Yoo Ha returns to gangster cinema and knocks it right out of the park with his latest, an evocative and immensely entertaining saga that pits a common tale of brotherhood and betrayal against a thrilling period setting mired in violence and corruption. Nine years after A Dirty Carnival, Yoo has maintained his knack for combining genre filmmaking and subtle symbolism, while also elevating his craft to encompass the full range of Korean cinema’s technical knowhow in Gangnam Blues.

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News: Kino Lorber to Give US Viewers A HARD DAY

By Pierce Conran

One of last year's best Korean films, the thriller A Hard Day is finally going to find its way to American theaters after being picked up by Kino Lorber. The film will be released this summer before hitting the home market in autumn.

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Discover a Wealth of Upcoming Korean Releases in MKC's New Database

It's taken some tinkering but, finally, we've finished the new Upcoming Releases page. While many excellent databases exist online with information on future Korean films, many are hard to navigate or far from comprehensive. We wanted to provide an easy to use resource listing all Korean films on the horizon and we believe we've been able to do that.

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Review: THE ROYAL TAILOR Spins a Colorful Period Yarn

By Pierce Conran

Period dramas are all the rage in Korea at the moment, but while some have been setting records at the box office (such as Roaring Currents), not all have been successful. No film is a guaranteed hit but period productions are a costlier gamble than most and with those risks come certain strings. The Royal Tailor, a King’s court drama with a penchant for colorful fashion and plenty of humor, is a fine sophomore effort from Lee Won-suk, if one that feels bound by certain restrictions and obligations, particularly in its final act.

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New Korean Films: At a Crossroads (2015 Week 3)

Gangnam Blues

(강남 1970)

By Fabien Schneider

In the 1970s, all eyes were turned towards the underprivileged neighborhood known today as Gangnam in the southern part of ever-sprawling Seoul. The prospect of the redevelopment of that area stirred up a hornet’s nest between the corrupted political authorities, real estate agencies and low-life gangsters. Jong-dae and Yong-gi are two orphans who ran away from their children's home where they met and since then struggle every day to survive in their shanty home. When their house is destroyed by mobsters, they get separated and take different paths. Three years later, Jong-dae has now settled down, living a quiet life with the family of his former boss, Kil-su. But this tranquility is put at risk when Madame Min, a real estate investor who has connections in political and media circles, is taking action to get all the rights over Gangnam’s territories. Jong-dae joins her in an attempt to enhance his life. Yong-ki, along with the most powerful gang of Seoul in which he became a highly-ranked goon, is going to fight back, and in the process will meet again his old friend.

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News: Gong Yoo Joins Yeon Sang-ho's Live Action Zombie Thriller BUSAN-BOUND

By Pierce Conran

Yeon Sang-ho has come a long way in just a few years. After two highly acclaimed animations and another in post, the filmmaker will be making his live action debut this year, with the big-budget zombie thriller Busan-Bound. The Suspect's Gong Yoo has already confirmed his appearance, while Ma Dong-seok (One on One) looks set to sign on beside him.

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Review: THE CON ARTISTS Aims Right Down the Middle and Is All the Better for It

By Pierce Conran

There are many things we demand from films, good stories, strong characters, style… the list goes on. However, more than everything else, there is one thing people clamor for the most, particularly in its absence: originality. We readily point out clichés and stereotypes and are quick to lament the prevalence of the done-to-death scenarios that litter today’s multiplexes. This applies to most films, but there are some, particularly within the heart of the mid-level commercial field, that can sometimes get away with it. The Con Artists, released last month, is such a film.

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Coming Attractions: THE DEAL Offers Familiar Thrills

By Rex Baylon

First-time director Son Yong-ho will debut his film The Deal in March of this year. The film stars Kim Sang-kyung, Park Sung-woong, Kim Sung-kyun and Yoon Seung-ah in a story that revolves around a detective and a civilian who have had no prior connection to each other except for the fact that both men have lost loved ones at the hands of serial killer Kang-cheon.

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Review: CHRONICLE OF A BLOOD MERCHANT Favors Strong Cast Over Plot

By Pierce Conran

Outside of indie cinema, actors directing themselves in leading roles are quite rare in Korean films,  making Ha Jung-woo’s Chronicle of a Blood Merchant something of an oddity. One of the country’s biggest stars, Ha surrounds himself with a wealth of acting talent in an unassuming period-set comedy-drama that ultimately steers into histrionics. 

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News: Seol Kyung-gu and Ko Soo Search for Clues in LUCID DREAM

By Pierce Conran

Seol Kyung-gu and Ko Soo are teaming for upcoming thriller Lucid Dream. From first time director Kim Joon-sung, the film will also star Kang Hye-jung. The story, if I understood it correctly, deals with a father who goes searching for his kidnapped child. He enlists the help of people who can find clues through lucid dreams.

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Review: Meditative POHANG HARBOR Doesn't Quite Connect

By Pierce Conran

In a country with so many hardships out in the open and an unspoken swell of pain swirling just beneath the surface, there needs to be a release valve for the frustrations of ordinary citizens. In Korea, that role is often taken on by cinema.

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News: Jung Woo-sung to Hunt Monsters in New Period Film

In the midst of the incredible popularity of Korean period films, yet another production has been announced. Jung Woo-sung has boarded Jakseoui Byeon - Attack of the Water Monster (a literal translation of the Korean title). A Joseon Era creature feature, the film be helmed by Chaw (2009) director Shin Jung-won.

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News: For Our Sins, D-WAR 2 Is Going into Production

I'll be honest, I haven't seen D-War (at least not all of it), but it's with a heavy heart that I tell you that Shim Hyung-rae will start filming a sequel to his much-maligned 2007 CGI dragon action film. Following casting, the film is set to go into production in May. The story will this time take place in 1969, as the US and Russia race for the first moon landing during the Cold War.

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New Korean Films: Love is Overdue (2015 Week 2)

Love Forecast

(오늘의 연애)

Jun-su was once a young man who had just fallen in love with Hyeon-wu. They started to date, but he couldn’t work up the nerve to confess his love. His feelings have been stuck in his mind for a long time… Like, for a very long time. Eighteen years later, Jun-su now has a job as an elementary school teacher, but he still cannot make his relationships last longer than a few months. Part of the reason is that he still sees Hyeon-wu every day; they have meals together, go to the movies, hold hands, always rely on each other and even know the door codes of each other’s apartment. While Hyeon-wu’s rising popularity as a weathercaster makes her surrounded with suitors, Jun-su wishes to get out of the so-called “friend zone” and make his move.

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News: Chinese MISS GRANNY Set to Become Top Korean Film in China

In its first four days, 20, Once Again!, the Chinese version of Korean hit Miss Granny, topped China's box office with $19.9 million. Produced by CJ Entertainment, which was also responsible for last year's Korean version, the film's strong debut suggests that it will soon become the most successful Korean-produced film in China to date.

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News: Rotterdam to Host 19 Korean Films

The International Film Festival Rotterdam (IFFR) is no stranger to Korean films but for their 44th edition, they've gone all out, programming 19 films across various sections. In addition to some of the latest Korean indie films, many from Busan, the festival has also announced a 12-title Jang Jin retrospective.

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News: ODE TO MY FATHER Joins the 10 Million Viewer Club

After four weeks, JK Youn's blockbuster melodrama Ode to My Father joined the 10 million viewer club last night. It is the 11th Korean film to do so at the local box office and the 14th overall. It's also the fourth film of 2014 to reach the mark (a record), along with Frozen, Roaring Currents and Interstellar, and the first time that a director has breached the barrier twice, since Youn's previously managed the feat with Haeundae in 2009.

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23 Most Anticipated Korean Films of 2015

By Pierce Conran

Last year was a rough one for Korea's mainstream industry, at least creatively speaking. There were some big hits but not a lot of memorable fare, though the independent sector thrived. Thankfully, 2015 has a much more exciting lineup right off the bat. Major filmmakers like Park Chan-wook, Na Hong-jin, Ryoo Seung-wan, Im Sang-soo and Choi Dong-hoon are set to return and though period films and thrillers once again dominate, many upcoming projects feature promising combinations of talent and content.

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News: Oh Dal-soo is the 100 Million Viewer Man

We don't hear much news about Korea's wealth of talented supporting players but here's a nice little tidbit. Character actor Oh Dal-soo has become the first Korean actor to appear in films that have attracted over 100 million viewers at the local box office. Quite a feat in a country of 50 million people.

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News: 6 Korean Films Headed to Göteborg

The film festival train is back in full swing and the Göteborg International Film Festival, one of the first major events of the year, revealed its 38th program, which kicks off on January 23rd. As always, there will be a strong Korean presence in Sweden with six titles in the lineup this year.

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New Korean Films: Platonic Romance or Edonist Pleasure? (2015 Week 1)

by Fabien Schneider

After an excessively long break, I am pleased to announce that I am once again ready to make you discover every week the latest productions that find their way to South Korean theaters. Let me remind you the principle of this section: for each film I will briefly present the synopsis, then I will share my own commentary on the expectations that these films generate, the response of the public and critics, the way the film is promoted, and anything that might be relevant to assess the value (or lack thereof) of the film. It goes without saying that these comments are based solely on the information available at the time of writing. Of course, for the vast majority of these films, I would have not seen them before their theatrical release. Do not be surprised then if a movie that I would have viciously criticized turns out to be a wonder. So let's start this week with two very different movies.

Casa Amor: Exclusive for Ladies

(워킹걸)

Bo-hee is a business woman who places her career as the marketer of a toys’ brand before her family. Her husband is sexually frustrated, and his son feels abandoned. But following an unfortunate mistake during a presentation, she finds herself unemployed. As if it wasn’t enough to spoil her day, she comes back home only to find a note from her husband announcing their separation. Hopefully, she’ll attempt to retrieve her fortune by taking an unexpected job. Nan-hee owns a sex shop, and has become a true reference in matters of sex. According to her, the world is divided between women who take pleasure and those who don’t. But despite all her knowledge and experience, she still fails at selling her products. She decides to hire Bo-hee to promote her new line of “toys”.

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Review: ODE TO MY FATHER Puts Blockbuster Spin On Melodrama

By Pierce Conran

Family takes centre stage in Ode to My Father, a new Korean melodrama that is every bit as bombastic as this year's naval battle hit Roaring Currents. Directed by JK Youn (Youn Je-kyun), whose last film Haeundae sauntered over the 10 million admissions barrier in 2009, this new epic drama proves to be an expert balance of scale and intimacy that will surely find a huge audience at home.

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Top 10 Korean Films of 2014

2014 was an interesting year for Korean cinema. From a financial standpoint, the industry remained strong and produced its most successful film of all time (Roaring Currents), even if sales weren't quite able to reach the peaks of the preceding two years. However, from a qualitative angle, the picture was far less rosy. Early in the year, studio slates looked promising but many of the finished products, while undeniably polished, felt overworked and lacked originality. This speaks to growing concerns over corporate influence in the industry's current creative streak. Some feel that talented and especially younger filmmakers aren't being afforded the freedom they used to.

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Hong Sangsoo Taps Jung Jae-young, Kim Min-hee and More for 17th Film

Prolific auteur Hong Sangsoo is getting ready to shoot his 17th (as yet untitled) film this month after fixing his leading cast. Previous collaborators Jung Jae-young (Our Sunhi, 2013) and Yu Jun-sang (The Day He Arrives, 2011) will be joined by Hong first timers Kim Min-hee (Helpless, 2012) and Ko Ah-sung (Snowpiercer).

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Review: Mail-Order Bride Mystery-Drama THUY Driven by Strong Lead

By Hieu Chau

The notion of ordering a bride is largely written off as a joke in various parts of the world but the reality of the scenario is certainly no laughing matter. Particularly in South Korea, where cases of domestic violence (and in some extreme cases, murder and suicide) towards bought brides is reported to be startlingly frequent. It’s this harrowing facet of Korean society that attracted the attention of filmmaker Kim Jae-han, who felt an urge to create a film that reflected a part of Korean society that hasn't been discussed all too much in Korean films.

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EXCLUSIVE: Watch Lee Myung-se's M for Free on MKC

MKC is once again delighted to present a Korean film to view directly here on the site. We recently teamed up with streaming service DramaFever to bring you the best in Korean films, and part of that involves co-premiering some movies and this week's film is M, Lee Myung-se's 2007 mystery/romance that is quickly becoming a classic of Korean cinema.

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EXCLUSIVE PREMIERE: Watch THE FATAL ENCOUNTER for Free on MKC

MKC is delighted to present, for the very first time, a Korean film to view directly here on the site. We recently teamed up with streaming service DramaFever to bring you the best in, what else, modern Korean cinema, and part of that involves co-premiering some brand new Korean films and first among those is The Fatal Encounter, one of this years' biggest Korean releases.

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Busan 2014 Review: THE TRUTH SHALL NOT SINK WITH SEWOL Invokes Tears And Outrage

Part of MKC's coverage of the 19th Busan International Film Festival

By Pierce Conran

The Sewol Disaster, the most significant event to rock South Korea since the IMF Crisis in 1997, gets its first big screen treatment with The Truth Shall Not Sink With Sewol, the first of what are sure to be many documentaries exploring the subject. Rather than offer an overview of the event and the many issues plaguing Korean society it uncovered, this film from Lee Sang-ho and Ahn Hae-ryong wisely examines only a small portion of the incident. Yet even the narrow avenue it walks uncovers a mountain of upsetting truths concerning the conduct of government and the press during the immediate aftermath of the sinking.

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Busan 2014 Review: PARALLEL Means Well But Lacks Drive

Part of MKC's coverage of the 19th Busan International Film Festival

By Pierce Conran

The heart-warming story of a disabled ice hockey team's journey to the World Championships, Korean documentary Parallel is a testament to perseverance and passion in the face of adversity. However, at 70 minutes and with an all too easy to digest narrative structure, the doc is a well-meaning one that lacks both filmmaking pizazz and a deeper core.

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Busan 2014 Review: FACTORY COMPLEX, An Artful Look At Korea's Beleaguered Workforce

Part of MKC's coverage of the 19th Busan International Film Festival

By Pierce Conran

It's no secret that workers are subjected to punishing conditions and constant humiliation in Korea, a country that has made the news recently for having the longest work hours and yet the least productivity among all OECD nations. New documentary Factory Complex, through a mixture of earnest interviews and juxtaposed, mood-setting shots, offers an involving perspective on the issue, which subtlety invokes the larger issues at play, such as how people treat each other in a highly hierarchical and patriarchal society.

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Busan 2014 Review: VENUS TALK Drowns Out Despite Strong Female Stars

Part of MKC's coverage of the 19th Busan International Film Festival

By Pierce Conran

As a fan of Moon So-ri and production company Myung Films, I felt that I should be excited about Venus Talk, their first collaboration since Im Sang-soo’s excellent A Good Lawyer’s Wife (2003). But on the other hand, with its middle-aged female cast and heavy Sex and the City parallels, I was never this film’s intended audience. Given the lack of strong female roles in today’s Korean film industry, I’m glad to see a major film like this come along but that still doesn’t mean this particular offering held much appeal for me.

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Busan 2014 Review: Action Thriller THE TARGET Misses the Mark

Part of MKC's coverage of the 19th Busan International Film Festival

By Pierce Conran

Normally we read about which new Korean thriller has had its remake rights snatched up by a Hollywood studio (news which invariably leads to a fervent chorus of opposition among Korean film fans) but these days we're starting to see an increasing amount of major Korean releases based on overseas properties. If we discount Japan, recent Korean films based upon foreign films include the 2012 romcom All About My Wife (based on the 2008 Argentine film Un novio para mi mujer) and last summer's surveillance thriller Cold Eyes (based on the Johnny To-producer HK feature Eye in the Sky from 2007). Following in their footsteps is the action-thriller The Target, this time based on 2010's Point Blank from France.

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Busan 2014 Review: HILL OF FREEDOM Proves A Pleasant But Slight Slice From Hong Sangsoo

Part of MKC's coverage of the 19th Busan International Film Festival

By Pierce Conran

It's easy to accuse Hong Sangsoo of doing the same thing over and over again as each of his films revisit the same themes with similar characters, situations and locations. Such a reading can easily miss the point of his constant repetition, which cleverly lays bare the hypocrisy and narcissism of the characters that populate his output. Yet with his latest work, the particularly laid back jaunt Hill of Freedom, the director seems to have less to say than usual. However, with deliberately simple dialogue (in English) and an uncomplicated narrative, as well as a very brief 67-minute running time, the director also appears to be in a playful mood.

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Busan 2014 Review: The Beauty Of THE FATAL ENCOUNTER Is Only Skin Deep

Part of MKC's coverage of the 19th Busan International Film Festival

By Pierce Conran

Following a slow few months, commercial Korean cinema returns to the spotlight with The Fatal Encounter, the first of the many period blockbusters that will inundate local theaters through to the end of summer. Following in the footsteps of the 2012 period blockbuster Masquerade (2012), The Fatal Encounter casts a major heartthrob (Hyun Bin) as a king in a tale of royal palace intrigue.

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Busan 2014 Review: LIVE TV Showcases Misogyny And Bad Filmmaking

Part of MKC's coverage of the 19th Busan International Film Festival

By Pierce Conran

Found footage horror and digital age social themes combine to disastrous effect in the lamentable and stunningly offensive Live TV, a midnight film at Busan that'll make you wish you'd turned in early.

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Busan 2014 Review: The Vengeful Ripples of Bong Joon Ho’s MOTHER

Originally part of MKC's Revenge Week (July 8-14, 2013), this article is reposted in light of its new B&W print being screened at the 19th Busan International Film Festival. Though the new version is not discussed here, I can say that one of my favorite Korean films is now even better!

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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Busan 2014 Review: DOES CUCKOO CRY AT NIGHT, A Simple But Well Told Parable

Part of MKC's coverage of the 19th Busan International Film Festival

By Pierce Conran

Playing alongside the 50-odd new Korean films playing at Busan this year is a retrospective of the work of Jung Jin-woo, a prolific director and producer active from the 1960s to the 80s. Known as a purveyor of social melodramas highlighting separation anxieties after the Korean War, Jung switched gears in later in his career, when he began to look at the plight of women in his country. Kicking off this chapter in his filmography was 1980's Does Cuckoo Cry at Night, a simple parable with a restrained yet evocative style.

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Busan 2014 Review: Strong Effects Play Second Fiddle to Patriotism in ROARING CURRENTS

Part of MKC's coverage of the 19th Busan International Film Festival

By Pierce Conran

When making films based on significant milestones in a country’s history, nationalism can be a great asset in a filmmaker’s arsenal but it’s also a tool that must be handled carefully, as too much patriotic bombast can mar an otherwise captivating story. Alas, the new period epic Roaring Currents, which chronicles one of Korea’s most famed victorious, falls into that category. Formidable effects and a fascinating historical event, akin to a Korean version of 300 on boats, plays second fiddle to sensationalized heroism in this epic war reenactment.

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Busan 2014 Review: TIMING Mixes Overstuffed Narrative And Plain Animation

Part of MKC's coverage of the 19th Busan International Film Festival

By Pierce Conran

Popular webtoonist Kang Full has become a big name in Korean film over the last few years following the success of features based on his work, such as BA:BO (2008), Late Blossom (2011), Neighbors (2012), and 26 Years (2012). At this year's Busan International Film Festival, Kang's work gets the animated treatment for the very first time with Timing, a film firmly planted in the supernatural and brimming with ideas but undercut by sketchy execution.

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Busan 2014 Review: HAN RIVER Ponders Urban Malaise in Contemporary Korea

Part of MKC's coverage of the 19th Busan International Film Festival

By Pierce Conran

With black and white lensing, cheerful yet destitute protagonists and the absence of a clear narrative, the philosophical vagabond film Han River, benefits from a style and focus that sets it apart from the bulk of recent Korean indie fare, yet its offbeat musings and muddled pacing will leave some viewers wanting something a little more concrete.

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Busan 2014 Review: SOCIALPHOBIA Effectively Blends Social Agenda And Genre Tropes

Part of MKC's coverage of the 19th Busan International Film Festival

By Pierce Conran

The Korean Academy of Film Arts (KAFA) returns to Busan with Socialphobia, a new work that is equal parts social drama and murder mystery. Examining the disruptive effect of communication in the digital era within a society where the slightest bit of gossip can take on a life of its own, this debut film showcases Hong Seok-jae's assiduous combination of genre tropes and subtext.

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Busan 2014 Review: Kim Ki-duk Off His Game With ONE ON ONE

Part of MKC's coverage of the 19th Busan International Film Festival

By Pierce Conran

Enfant terrible Kim Ki-duk returns with his 20th feature One On One, opening the Venice Days sidebar this year with an uncharacteristically plot-and-character-heavy offering. With an overt social agenda and a familiar revenge narrative, the film appears to be primed for a larger audience than much of the divisive cineaste's work. But with a rushed production schedule and comparable lack of poetry (however gritty) and wit than his previous efforts, it proves to be one of the director's least satisfying outings.

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Busan 2014 Review: END OF WINTER Boasts Strong Cast And Subtle Mise-en-scene

Part of MKC's coverage of the 19th Busan International Film Festival

By Pierce Conran

Dankook University scores a New Currents competition slot at the Busan International Film Festival for the second year running with End of Winter, a controlled family drama taking place in the dead of winter. Eschewing histrionics in favour of a slowburning and sustained narrative, this latest student feature boasts a strong cast and an unobtrusive yet elegant mise-en-scene.

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