Review: SPECIAL ANNIE Awkwardly Switches From Subject to Artist

By Pierce Conran

Ten years after her feature debut What Are We Waiting For?, documentarian Kim Hyun-kung returns with an intimate film that is both a portrait of a HIV-positive New Yorker and a filmmaker uncertain of her aims. Awkwardly straddling the border between human interest story and self-interest, Special Annie is a lively if curiously narcissistic sophomore effort.

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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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KOFFIA 2014 Review: Fashion, Feminism and Film Collide in NORA NOH

By Hieu Chau

Fashion has always played a huge part in shaping films despite the fact that costuming is easily one of the most overlooked aspects in film discussions. On a textual level, fashion informs character - one can tell a whole story about a person simply based on costume choices. And this can easily apply to people in reality as well. Then there’s the effect fashion has outside of the film on a cultural and aesthetic level, where audiences seek to emulate and recreate the looks of the stars they see on screen.

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Berlinale 2014 Review: NON-FICTION DIARY Offers Captivating Glimpse of 1990s Korea

Part of MKC's coverage of the 64th Berlin International Film Festival and the 18th Busan International Film Festival.

By Pierce Conran

I stepped onto Korean soil for the first time almost 13 years after the end of the 1990s but there's no arguing the otherworldliness of that time, which can still be picked up on today by sampling the available media from that era. These days, some Koreans even reminisce about that special, indefinable feeling if a certain 90s song pops on in a basement bar.

Though a fan of documentaries, I've remained somewhat on the periphery concerning those from Korea despite my keen interest for the rest of the industry's output. A number of the subjects that they embark on are captivating, even essential at times, but they haven't always been made in the most gripping fashion. Mind you, I'm loath to admit that I still haven't seen some of the major recent successes, such as Talking Architect (2011) and Planet of Snail.

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Berlinale 2014 Review: Grand and Hypnotic, A DREAM OF IRON Won't Soon Be Forgotten

Part of MKC's coverage of the 64th Berlin International Film Festival.

By Pierce Conran

Early on in A Dream of Iron, a new documentary premiering at the Berlin International Film Festival this year, director Kelvin Kyung Kun Park shows us images of whales moving through the vast blue expanse of the ocean - enormous creatures that were once considered grand and mysterious. Soon after, Park brings us to the expansive POSCO steel-making plant on the coast of Southern Korea and proceeds to show us the process of shipbuilding through a series of arresting visual tableaux. Gargantuan in size, these vessels demonstrate the soaring ambition of the human race, as enormous components are each readied for assembly with minuscule laborers dotting their surface.

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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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Edinburgh 2013: Hawking (UK, 2013)

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

Stephen Hawking is one of the most well known scientists of our time, and he will undoubtedly go down in history as one of the greatest minds of all time. When presented with the possibility of seeing a documentary about his life, I suddenly realised that I actually knew very little about Stephen Hawking beyond his book A Brief History of Time and his long-term motor neuron disease. Documentaries serve to discuss real people and real situations, acting as much as educators as they do entertainers or pieces of art. The main problem with them is their chosen medium, as film is so easily edited and changes the way people act in front of it that it at times becomes very hard to take what is presented to the audience as ‘real’.

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CinDi 2012: Masquerade (가면놀이) 2010

Part of MKC's Coverage of the 6th Cinema Digital Seoul Film Festival.

Let me get this right out of the way first, this is NOT about the brand new Lee Byung-hun period pic of the same title which came out in Korean theaters today. My timing may not great, but so be it.

I knew Masquerade was a documentary and based on the one still that was attached to it in the CinDi program. I assumed it had something to do with pantomine or some sort of performance. To say that I was way off the mark would be something of a cataclysmic understatement. Nestled among a crowd of mostly young women, I grew somewhat uncomfortable when the narrative revealed itself to me for the first time. You see, Masquerade is a hard-hitting film about child abuse in Korea and how it is often ignored by society at large.

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CinDi 2012: The Boxes of Death, The Live (죽엄의 상자, 더 라이브) 2012

Part of MKC's Coverage of the 6th Cinema Digital Seoul Film Festival.

A number of bizarre and interesting works were presented at this year’s CinDi but none fit the tag ‘meta’ better than this curious Korean cinema-centric documentary. The Boxes of Death, The Live is about a live musical staging of the debut work of a titan of classic Korean cinema which was actually a showcase at last year’s CinDi. I didn’t see it in the exact same theater but it was certainly strange witnessing the proceedings unfold at the same event.

The Boxes of Death (1955) was the first film of Kim Ki-young, a masterful Korean cineaste who is slowly, and rightly, being recognized as one of the greats of world cinema. Most famous for his incendiary work The Housemaid (1960), Kim’s oeuvre stretched over a few decades and always pushed the medium to its limits. Films like Woman of Fire (1971), The Insect Woman (1972) and Iodo (1977), explored our darkest desires and shed an often unflattering light on Korea, in stark contrast with the image that the then-authoritarian government wished to promulgate. The Boxes of Death is perhaps more interesting as an historical artifact but the truth is that it is difficult to make a proper judgment on the film as the only existing print is lacking its soundtrack.

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JIMFF 2012: Abba (阿爸, Taiwan) 2011

Part of MKC's coverage of the Jecheon Intl. Music & Film Festival.

Though not always convinced by the films, the Jecheon Intl. Music & Film Festival was definitely a period of musical discovery for me. It reawakened my love for Tropicalia and Serge Gainsbourg, made me wish I had more time to play my guitar (Jason Becker: I’m Not Dead Yet) and introduced me to flamenco singing (Morente). On the flipside I also discovered that I am not too keen on Thai country music (The Moon). The Taiwanese documentary Abba (which features a number of flashback scenes) led me to more uncharted territory as it immersed me in Taiwan's pop music scene.

This doc’s subject is Hong Yi-feng, the late King of Taiwanese Pop. Much of the proceedings involve the staging of a tribute concert being put on by his three sons (themselves successful artists) following his death. It’s a tribute film that commemorates his achievements as a pioneering musician in Taiwan but it is also a portrait of a deeply flawed man who was a strict father, an adulterer and ultimately an absentee family man. Most of the film is told from the viewpoint of his sons, all of whom are grown up with their own families.

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JIMFF 2012 - Gainsbourg By Gainsbourg: An Intimate Self-Portrait (Je suis venu vous dire..., France) 2012

Part of MKC's coverage of the Jecheon Intl. Music & Film Festival.

When I noticed this documentary among the many titles on offer at this year’s JIMFF, I quickly saved a spot for it in my schedule. It was my first time hearing of it but as I count myself one of Serge Gainsbourg’s many fans it was out of the question that I should miss it. However, following the thrill of seeing it in the schedule and my rising excitement as I recalled this great artist’s legacy, my initial enthusiasm soon turned to trepidation. Gainsbourg, of course, is no mere pop star (not that I mean to denigrate anyone associated with that label). He is one of the most complicated mainstream artists of the 20^th century. Following his death, the president of his native France declared him a national treasure, placing him in the same pantheon as Apollinaire and Baudelaire, two of the finest poets to ever put pen to paper.

My fear was that he is a towering figure, a versatile musician with an enigmatic persona: how does one adumbrate his life and work in a mere 100 minutes? There was no doubt in my mind that the music would be up to par (as it would be his) and that I could expect a number of interesting anecdotes coupled with footage and audio of the great man himself outside of his recorded oeuvre. What did nag at me was that I could scarcely imagine how the film could live up to the man.

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JIMFF 2012: Morente (Morente, flamenco y Picasso, Spain) 2011

Part of MKC's coverage of the Jecheon Intl. Music & Film Festival.

I’m very glad I saw the Spanish documentary Morente, as it introduced me to a wonderful style of music that I was not very familiar beforehand but particularly because it brought the formidable artist Enrique Morente to my attention: a man with a beautiful voice who sings with heartrending passion. However, aside from its resplendent, larger-than-life protagonist, I have to chalk this documentary up as a failure. It is poorly made and worse it comes off as indulgent.

Enrique Morente was a flamenco singer who had reached the pinnacle of his art. At the time of the making of this film, which incidentally were his last days (he passed away shortly after the project wrapped), he is attempting to breathe his art into the words of Picasso, Spain’s most revered artist.

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JIMFF 2012: Tropicalia (Brazil) 2012

Part of MKC's coverage of the Jecheon Intl. Music & Film Festival.

Ah nostalgia, what a curious beast it is. This documentary whisked me back to my college days when I was an avid music collector with a rather eclectic set of tastes. One of my favorite discoveries was Brazilian music from the late 1960s and early 70s, particularly the genre known as Tropicalia. All my favorite artists of that period, including Caetano Veloso, Gilberto Gil, Gal Costa, Os Mutantes and Tom Ze, feature prominently in this new documentary, which explores their revolutionary music and the impact it had on contemporaneous Brazilian society.

Making a music documentary is no simple task. In one sense as a music documentarian you are very fortunate to have an array of stellar songs at your fingertips. However, the danger is that the strength of your soundtrack can overwhelm the film. Tropicalia features a stunning soundtrack and though knowledgeable of this music scene I discovered many new gems as I watched it, this was a plus. Director Marcelo Marchedo does two things with his approach to his documentary. He tries to create a modern, flowing historical document and also attempts to match the liveliness and passion of the Tropicalia scene through the pace of his feature and his panache in the editing suite. His bag of montage tricks seems bottomless.

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