KCN: BIFF Gets Ready to Take Offf (09/27-10/03, 2012)

KOREAN CINEMA NEWS

Vancouver and London Pay Attention to Korean Queer Film
White Night directed by Leesong Hee-il, who once caught attention with No Regret, has been invited to the Vancouver International Film Festival and the London Korean Film Festival. 6 years after he proved the possibility of Korean style queer film with No Regret, he made a new film White Night, which will be screened at the Dragons and Tigers section of the 13th Vancouver Film Festival (September 27th ~ October 2nd) and the 7th London Korean Film Festival (November 2nd ~ 23rd). (KoBiz, October 2, 2012)

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KBO: Masquerade Lords Over Chuseok Holiday (09/28-09/30, 2012)

Masquerade Lords Over Chuseok Holiday

	Title	Release Date	Market Share	Weekend	Total	Screens
1	Masquerade	9/13/12	47.70%	1,379,364	5,234,423	935
2	Taken 2 (us)	9/27/12	27.80%	776,843	962,350	682
3	Spy	9/20/12	9.30%	275,007	840,498	454
4	Brave (us)	9/27/12	7.40%	208,613	223,901	435
5	Ted (us)	9/27/12	2.40%	66,326	83,150	248
6	Ghost Sweepers	10/3/12	1.60%	48,271	53,628	176
7	Wolf Children (jp)	9/13/12	0.90%	28,266	217,147	145
8	Tad the Lost Explorer (us)	9/20/12	0.70%	20,515	127,868	194
9	Pieta	9/6/12	0.60%	18,365	570,949	142
10	Resident Evil 5 (us)	9/13/12	0.40%	10,870	550,480	132

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WKR: Masquerade and Coverage from MoMA's Yeonghwa Screenings (09/22-09/28, 2012)

Sorry for the delay for this week's Korean review round-up. I'm transitioning from on job to another, moving out of my apartment, and getting ready for Busan. On that note, there will be no weekly updates during the festival, they will be retroactively added later in October.

Thanks for your understanding!

CURRENT FILMS

Masquerade

(allkpop.com, September 22, 2012)

(Film Journal, September 25, 2012)

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Yeonghwa: Korean Cinema Today 2012 - Pink (핑크, Pingkeu) 2011

Part of MKC's coverage of the 3rd Yeonghwa: Korean Cinema Today event at NY's Museum of Modern Art. (previously published).

The passage of time affects us all in certain ways, our experiences and our memories all take on different forms after we’ve lived them and they leave behind a trace.  This imprint can be faint and slip through our conscious memory just as it can leave an indelible mark, a scar that bears the weight of its genesis.  Most things change with the passage of time but some do not and Jeon Soo-il’s new feature Pink is a dirge to the intransigence of the roots of our defining characteristics.

Jeon, who hails from Korea’s vibrant port city Busan, is a fiercely artistic filmmaker who has quietly been making films for the past 15 years.  While respected within the filmmaking community, Jeon has never attracted anywhere near the same level of international reputation as his arthouse contemporaries, such as Hong Sang-soo (The Day He Arrives, 2011), Kim Ki-duk (Spring, Summer, Autumn, Winter… and Spring, 2003) and Lee Chang-dong (Poetry, 2010).  His films are slow, deliberate and difficult and though they are successful on the festival circuit (he has won awards at Fribourg, Busan and Venice), a larger audience may never gravitate towards his oeuvre.

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Yeonghwa: Korean Cinema Today 2012 - Ideological Barriers and Invisible Borders in Poongsan (풍산개, Poongsangae) 2011

Part of MKC's coverage of the 3rd Yeonghwa: Korean Cinema Today event at NY's Museum of Modern Art. (previously published).

Kim Ki-duk is one of the filmmakers who initially drew me to Korean cinema.  The first film of his I saw was The Isle (2000), which was, in a French DVD edition, packaged together with Lee Chang-dong’s Peppermint Candy (1999).  While the films may have been very different they were also a fantastic double bill that complemented each other in many ways.  I wasn’t as shocked by the violence as I may have been because I had already seen Park Chan-wook’s Sympathy for Mr. Vengeance (2002) and before dipping into Korean cinema, had more or less exhausted Takashi Miike’s catalogue up until that point (around 2003).

Park’s film, while harrowing, was a pure piece of cinema brimming with adrenaline and the pure pleasure of filmmaking.  Lee’s poignant drama was elegant, realistic, literary, and propelled by social issues and recent Korean history.  Kim’s effort was slow and laconic, it was violent while at the same time elegiac.  The Isle had an artist’s touch and was unlike anything I’d seen before, just as the previous two films were.  Indeed I was very lucky to have selected the three Korean films that I did as my introduction to the nation’s cinema, the hooks were in deep from the start.

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KCN: A Bittersweet Life Gets US Remake, Pieta Sales and a Boatload of Posters (09/20-09/26, 2012)

It's been a very busy week here in Korea as I'm switching jobs, moving, preparing for Busan and have lost my phone so apologies for the slower pace of articles and this abbreviated version of Korean Cinema News. 

KOREAN CINEMA NEWS

A Bittersweet Life to Be Remade, Albert Hughes Takes the Reigns
One half of the directing duo behing Menace II Society, From Hell and The Book of Eli, Albert Hughes, is set to direct a fast-tracked remake of the seminal Korean gangster film A Bittersweet Life. Anthony Peckham, recently behind Invictusand Sherlock Holmes, has been brought in to polish the script. No word yet on cast or possible release date.

There's been a awful lot of news surrounding Korean films being remade in Hollywood or Korean directors making their mark in Tinseltown lately but this is one development I can't get excited about. I'm generally not a fan of foreign films being remade (much less Korean ones) so I'm not one of the people who is excited for Spike Lee's take on Oldboy. However, I do recognize the potential that such an original premise has in a new market. The same goes for the upcoming remake of Castaway on the Moon, one of the very best films made in the last decade. Last I heard, Mark Waters (of Mr. Popper's Penguins fame) was at the helm, and while I don't think that'll amount to much I do concede that it is property with a fantastic premise, ripe for the remake treatment.

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Yeonghwa: Korean Cinema Today 2012 - Blind (블라인드, Beulraindeu) 2011

Part of MKC's coverage of the 3rd Yeonghwa: Korean Cinema Today event at NY's Museum of Modern Art. (previously published).

First impressions are important and as film viewers we are particularly prone to making rash decisions based upon the opening moments of anything we watch.  This is perhaps even more important in this day and age as multimedia is so readily accessible.  Our already short attention spans are dwindling ever further as we can easily switch between TV channels, on demand, stored digital, and portable media.  Those first few minutes of a film can dispense a large volume of information but even so, they cannot always prepare you for what you are going to see.  Opening scenes are important but not every kind of film can benefit from a flashy beginning.

One of this year’s most successful Korean films, Blind does not get off to the greatest start and blunders on through the first act with heavy feet, trampling through the early stages of the plot.  Subtlety is not the film’s strong suit and the quicker this is accepted, the better.  Once I got used to the heavy-handedness of the proceedings I was able to enjoy myself but the film walks a dangerous line from the start.  It doesn’t really announce itself properly and seems like a relatively sober affair at first, it is only as it continues in unsubtle fashion and when things become even more ridiculous that you begin to understand the intent of the film, which is to be a trashy and entertaining potboiler.  It does succeed on that last count, but it takes a while to get there and is not without its fair share of problems.

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KBO: Masquerade Still King (09/21-09/23, 2012)

Masquerade Still King

	Title	Release Date	Market Share	Weekend	Total	Screens
1	Masquerade	9/13/12	60.50%	1,192,689	3,227,946	922
2	Spy	9/20/12	16.80%	341,696	415,422	576
3	Resident Evil 5 (us)	9/13/12	5.70%	101,271	501,391	331
4	Ted (us)	9/20/12	3.90%	81,313	100,920	301
5	Pieta	9/6/12	3.50%	69,518	505,744	292
6	Wolf Children (jp)	9/13/12	2.90%	61,269	169,760	220
7	The Bourne Legacy (us)	9/6/12	2.10%	39,773	998,212	262
8	Traffickers	8/29/12	1.90%	36,518	1,618,528	192
9	The Thieves	7/25/12	0.40%	6,969	12,944,840	86
10	London Boulevard (uk)	9/20/12	0.30%	6,735	11,617	131

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Howling (하울링, Hawoolling) 2012

In Korea, genre is a dish almost never served by itself. Rather than use tried and tested formulas, local cineastes tend to concoct more bizarre and seemingly unworkable combinations. One of the enduring appeals of Korean cinema is that they are often (but not always) able to make them work. Director Yu Ha is an interesting figure: he used to be a poet but for the last ten years he has been one of the country’s most reliable genre filmmakers. First impressing audiences with his successful foray into romance (though I use the term loosely) with Marriage Is a Crazy Thing (2002), next with one of the peninsula’s best high school films (Once Upon a Time in High School, 2004), following that he made, for my money’s worth, the best Korean gangster (or ‘jopok’) film (A Dirty Carnival, 2006) and most recently he produced a gay period epic (A Frozen Flower, 2008).

Following a slightly longer break than usual, Yu is back with his fifth feature and I was excited the moment I heard about the project. Not least for his involvement but also due to the participation of Korean thesps Song Kang-ho and Lee Na-young and the premise which was initially loglined as a procedural about spontaneous combustion. Though not an outright failure, the film did not find an enormous audience in Korea when it opened in February and has since picked up a number of detractors but as far as I’m concerned, though a flawed film, it is one of the best genre efforts of the year to date.

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WKR: Masquerade and Bounty of Recent Releases (09/15-09/21, 2012)

Lee Byung-Hyun's smash hit period pic Masquerade gets a number of reviews this week while a wide selection of recent Korean films gets covered all around the world, from DVD and cinema releases to TIFF, Zipangu and Yeonghwa: Korean Cinema Today coverage.

CURRENT FILMS

Masquerade

(Modern Korean Cinema, September 17, 2012)

(Seongyong's Private Place, September 14, 2012)

(The Los Angeles Times, September 20, 2012)

Pieta

(Film School Rejects, September 20, 2012)

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Yeonghwa: Korean Cinema Today 2012 - In Another Country (다른 나라에서, Dareun Naraeseo) 2012

Part of MKC's coverage of the 3rd Yeonghwa: Korean Cinema Today event at NY's Museum of Modern Art. (previously published).

Quick disclaimer before barreling on with my discussion of Hong Sang-soo’s latest: This is the first film I’ve seen in a theater since my move to Korea and I saw it without subtitles and it must be said that my knowledge of Korean is fairly limited.  That said, over two thirds of In Another Country is in English and I was able to more or less follow the rest as well.  Undoubtedly there were some things I didn’t pick up on, so in the interest of full disclosure I thought I’d mention it.

Clearly, the most remarkable thing about Hong’s 13^th feature is the presence of French screen legend Isabelle Huppert in the lead role.  This fact was picked up on by many global news outlets and gave the film some more recognition at this year’s Cannes Film Festival, versus last year when Hong’s previous feature The Day He Arrives was screened.  It may also have been what landed it in the main competition.  However, while it was well received, it was left out during the closing night’s awards ceremony.

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U.F.O. (2011)

One of the recurring motifs in Korean cinema is the representation of repressed trauma. Whether as a lazy deus ex machina in a rote romcom or the underlying social agenda of an auteurist prestige pic, it never seems to be far from the surface. It’s prevalence in the country’s film industry is in itself an indication of just how important it is. Having been subjected to numerous colonizations and following decades of inequity at the hands of local autocratic governments, Korea is no stranger to psychological wounds and dark memories. However, as the country finally moved into the light, slowly but surely, following the end of Chung Doo-hwan’s administration in 1988, this trauma has been relegated to the basement. But then, why shouldn’t this be the case?

We all have memories we would rather forget but rather than a few isolated instances, Koreans have had whole generations that still haunt them. The need to forget is potent and has almost become a collective requirement of Korean society. Of course none of it can truly be forgotten and the past is constantly alluded to, if rarely overtly. Bong Joon-ho’s Memories of Murder (2003), as a heavily cited example, was a breathtakingly complex work that encompassed the collective repression of a nation’s trauma, but it did so in the guise a serial killer genre piece. The fact that five million people saw it is also a testament to the need for these subtle acts of mnemonic cleansing.

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