Monday, August 15, 2011

Korean Cinema News (08/08-08/14, 2011)


Modern Korean Cinema is a proud media partner of the Korean Film Festival in Australia which will get underway on August 24th in Sydney until the 29th and then move on to Melbourne where it will take unspool from the 10th to the 13th. Many excellent films will be screened including: The Man From Nowhere; Bedevilled; The Unjust; The Journals of Musan; The Show Must Go On (2007); Oki's Movie; and Secret Reunion. Some special guests will also be making an appearance including director Ryoo Seung-wan and producer Kang Hye-jung. If you in the area or can make it there be sure not to miss what is shaping up to be an exceptional celebration of Korean cinema!



The Korean Film Festival of Australia will feature films by many luminaries of the Korean film industry. Below are profiles they have put together for some of the festival favorites:


Martin Cleary of New Korean Cinema, another media partner of KOFFIA, gives us an overview of the festival and its films in a series of features.



KOREAN CINEMA NEWS

A Primer on Korean Cinema
Paul Quinn of Hangul Celluloid gives us an overview of the appeal of Korean cinema for Pelter Magazine. (Pelter Mag, August 8, 2011)

Outcry as KBS Airs First Lesbian Drama
Due to the fact that it contained content relating to same-sex couples, a new KBS drama called Daughters of Club Bilitis had viewers up in arms. (allkpop.com, August 8, 2011)

Miss Conspirator Halts Filming
Due to the poor health of director Jung Bum-Sik, as of August 12, 2011 filming for Miss Conspirator was halted. (Asian Media Wiki, August 12, 2011)

Gone With the Wind Casts Cha Tae-hyun
Gone With The Wind, a historical comedy centered around thieves who attempt to steal ice from an ice house, has cast Cha Tae-hyun and will begin filming in September. (Asian Media Wiki, August 12, 2011)

Korean Shortlist For Academy Awards Announced
Poongsan, Sunny, The Yellow Sea, The Front Line, Hanji and The Day He Arrives have been shortlisted for Korea's submission into next year's academy awards. (Hancinema, August 11, 2011)

Korea's Invasion of Alien Bikini
A profile of director Young-Doo Oh’s Invasion of Alien Bikini which will be premiering later this months. Blending the comic science fiction of Save the Green Planet (2003) with the bondage creepiness of a film like Audition (2001), Oh’s film has the potential to be another in the storied line of Korean films where weirdness defies classification. (Asian Movie Pulse, August 11, 2011)

CJ E&M Harbors Global Ambitions
CJ executives are seeking to double CJ E&M's size by 2015, with overseas markets potentially contributing 30-40% of revenue, compared with about 10% today. (Asian Media Journal, August 11, 2011)

The Man From Nowhere to Be Released by Toei in Japan
As the Japanese major Toei announced that it was returning to foreign acquisitions, it stated that The Man From Nowhere would be its first release. (Screen Daily, August 11, 2011)

Quick to Open in US & Canada
Motorcycle summer blockbuster Quick which has been doing well in general release in Korea will open in select theaters in the US and Canada later this month. (soompi.com, August 10, 20110)

Arirang and Night Fishing Screening at HKSIFF
The Hong Kong Summer International Film Festival will screen Kim Ki-duk's Arirang and Park Chan-wook's iPhone short Night Fishing. The festival runs for two weeks and got underway August 9. (CNNgo.com, August 8, 2011)

Lee Jang-ho to Head New Film Organization
Veteran filmmaker and head of the Seoul Film Commission Lee Jang-ho was elected as the first head of Film Korea, a new organisation which aims to promote Korea as a location for foreign productions as well as converge the separate sectors of film, TV drama, manhwa (manga), animation and gaming. (Screen Daily, August 12, 2011)

Ryoo Seung-beom Thanks Fans for Fantasia Award
A video response from Ryoo Seung-beom after learning that he won the best actor award at Fantasia for his role in his brother's film The Unjust. (youtube.com, August 8, 2011)

Asia Cinema Fund Backs Wide Array of Films
The Busan International Film Festival's Asia Cinema Fund has announced the diverse slate of films it has supported, which includes the Venice Film Festival-bound Cut. (Film Business Asia, August 9, 2011)

Korean Wave Hits Toronto
Cindy Zimmer offers her thoughts on the emergence of Korean culture in Toronto, having moved back there after living in Korea. (Life's An Adventure 2, August 9, 2011)

EDIF to Screen Wide Range of Documentaries
The EBS (Educational Broadcasting System) International Documentary Festival (EDIF), which celebrates non-fiction film, will get underway on August 19, screening 51 films from 29 nations on TV and in theatres. (The Korea Herald, August 10, 2011)



INTERVIEWS

Radio Interview with KOFFIA's Kieran Tully
Kieran Tully, marketing director of KOFFIA, discusses the upcoming festival on SBS radio Australia. (sbs.com.au, August 9, 2011)

Sit-down with Action Star Ha Ji-won
The star of summer blockbuster Sector 7 talks about 3D, her image as an action star and her love for melodramas and romance. (CNNgo.com, August 8, 2011)


TRAILERS






BOX OFFICE

Arrow Impresses While Sector 7 Flounders
Arrow, The Ultimate Weapon got off to a strong start with 967,000 admissions while Sector 7 saw most of audience disappear in its second weekend after it wound up with 246,000, down nearly 80% from last week. Quick and The Front Line also tapered off relatively quickly and scored 190,000 and 126,000 spectators, at this rate 3 million is the final threshold that both of these releases can hope for. Leafie, A Hen Into the Wild remained strong with 233,000 while Ghastly almost disappeared in its second week with 5,000 (a 90% drop) and may not even reach 100,000. After the huge success of Sunny, which opened in early May, there has not been another breakout hit, three recent blockbusters have been unable to break out big numbers but perhaps Arrow, which has garnered good reviews, will hold out for some big figures. (hancinema.net, August 14, 2011)


Korean Cinema News is a weekly feature which provides wide-ranging news coverage on Korean cinema, including but not limited to: features; festival news; interviews; industry news; trailers; posters; and box office. It appears every Wednesday morning (GMT+1) on Modern Korean Cinema. For other weekly features, take a look at the Korean Box Office Update and the Weekly Review Round-up. Reviews and features on Korean film also appear regularly on the site. 

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

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Friday, August 12, 2011

Weekly Review Round-Up (08/06-08/12, 2011)

A variety of films reviewed this week including another pair of broadsheet commentaries for Poetry as it continues to screen across the world.


NEW KOREAN RELEASES

(hancinema.net, August 6, 2011)

(Seongyeong's Private Place, August 6, 2011)


RECENT RELEASES

(Variety, August 9, 2011)

(Beyond Hollywood, August 9, 2011)

(Modern Korean Cinema, August 6, 2011)

(koreanfilm.org, August 8, 2011)

(indieWIRE, August 9, 2011)

(Hangul Celluloid, August 7, 2011)

(The Reel Bits, August 6, 2006)

Poetry

(Beyond Hollywood, August 10, 2011)

(koreanfilm.org, August 8, 2011)

(PopMatters, August 11, 2011)

(pulpcurry.com, August 10, 2011) also cross-posted on VCinema


PAST FILMS

(Modern Korean Cinema, August 7, 2011)


The Weekly Review Round-up is a weekly feature which brings together all available reviews of Korean films in the English language (and sometimes French) that have recently appeared on the internet. It is by no means a comprehensive feature and additions are welcome (email pierceconran [at] gmail [dot] com). It appears every Friday morning (GMT+1) on Modern Korean Cinema. For other weekly features, take a look at Korean Cinema News, and the Korean Box Office Update. Reviews and features on Korean film also appear regularly on the site. 

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

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Monday, August 8, 2011

Korean Cinema News (08/01-08/07, 2011)

A large amount of trailers this week and lots of news to boot, including a number of box office milestones.


KOREAN CINEMA NEWS

The Unjust Picks Up Award at Fantasia
Scribe Park Joon-hung won the best screenplay award for The Unjust at the close of the 2011 Fantasia International Film Festival which also featured a master class with award-winning director Ryoo Seung-wan. (DreadCentral.com, August 7, 2011)

South Korean Cinema Overview
Korean cinema is once again making waves on the international scene and Richard Gray briefly brings us through its evolution and where it currently stands. (Tresspass Magazine, August 7, 2011)

Fashion Trends in Ten Korean Films
An examination of ten korean films that display forward-thinking or versatile fashion sense. (racked.com, August 7, 2011)

Video Review of Terracotta Far East Film Festival
A video recap of this year's Terracotta Far East Film Festival which featured a number of Korean films and a special guest appearance by Breathless (2009) star Kim Khobbi. (youtube.com, August 6, 2011)

The Rise of Korean B-Movie
With the recent polarization of big-budget and independent cinema in Korea, B-Movies are now also gaining favor. Invasion of Alien Bikini, which was shot for less than $5,000 is leading the fray. (Joong Ang Daily, August 5, 2011)

Rain and Richard Gere to Collaborate on Project
Rain met with Richard Gere last week and announced on Twitter that they would be collaborating on an upcoming project. The results will likely not be seen for over three years as Rain must complete his compulsory military service. (soompi.com, August 5, 2011)

Leafie Breaks Animation Box Office Record
After attracting 500,000 spectators in 8 days, Leafie, A Hen Into the Wild is now officially the quickest selling animation in Korean history. (The Chosun Ilbo, August 4, 2011)

Sector 7 Bursts Out of the Gate
Summer blockbuster Sector 7 got off to a strong start with 230,000 viewers on its first day. It has benefited from the buzz of being the first Korean 3D action film. (hancinema.net, August 4, 2011)

Nicole Kidman Boards Park Chan-wook's Stoker
Park Chan-wook's hollywood debut Stoker is quickly assembling its high profile cast and the latest addition is screen siren Nicole Kidman. (soompi.com, August 4, 2011)

Arirang Confirmed for TIFF
Kim Ki-duk's new film Arirang, which premiered at Cannes earlier this year, has been confirmed in the masters section of this year's Toronto International Film Festival. (indieWIRE, August 3, 2011)

Korean Indie Animation Fest to Present in Australia
In the lead to KOFFIA 2011, the Indie-Anifest will present a special showcase of independent animation from Korea on August 16th. (koreanculture.org.au, August 3, 2011)

Normalization for Online Film Distribution Demanded by Chungmoro
On July 27, 108 companies and organizations, led by the Korean Film Council announced the Declaration for the Normalization for Online Film Distribution. The declaration calls for putting a stop to the illegal circulation of films online. (hancinema.net, August 2, 2011)

Hollywood DMZ Movie in Pre-Production
CJ has partnered with Di Bonaventura Pictures to produce a multi-million dollar blockbuster about Korea's De-Militarized Zone (DMZ). (hancinema.net, August 2, 2011)

New Casting Announcements for Stoker
More casting news for Park Chan-wook's Stoker as Alden Ehrenreich joins the feature. (Variety, August 1, 2011)

The Thieves Completes Location Shoot in Macau
Choi Dong-hoon's fourth feature has wrapped up its location filming in Macau. The Thieves, which stars Kim Yoon-seok, Gianna Jun, Kim Hye-soo, Lee Jeong-jae and Oh Dal-suis set to be released in the summer of 2012. (Film Business Asia, August 1, 2011)

Hollywood Studios Funding and Producing Asian Films
Recently, various Asian films have been partially funded or produced by Hollywood studios. They include Na Hong-jin's The Yellow Sea. (Wildgrounds, August 1, 2011)

Indian Marial Artist to Train in Korea
Salman Khan will be training in martial arts in Korea for his upcoming film Kick, which wil be shot on the peninsula. (movies.ndtv.com, August 1, 2011)



INTERVIEW

PiFan Q&A for Invasion of Alien Bikini
Transcription of a Q&A session following a screening of Invasion of Alien Bikini at this year's PiFan. (Asian Media Wiki, August 1, 2011)


TRAILERS

Lots of trailers this week for upcoming Korean films and various touring independent films.



Ghastly (clip, no dialogue) 







Winter Smells


BOX OFFICE

Sector 7 Posts Cracks 1 Million in Opening Weekend
As expected Sector 7 dominated the box office with an opening of 1.154 million admissions. Quick and The Front Line dipped slightly from last week and are in great shape with 368,000 and 329,000 respectively. With 250,000 Leafie, A Hen Into the Wild is edging closer to its 1.5 million break-even point, currently stands at 880,000. Horror film Ghastly opened poorly with just over 50,000 while Sunny begins to wind up its run with 25,000 in its first week out of the top 10. (hancinema.net, August 7, 2011)


Korean Cinema News is a weekly feature which provides wide-ranging news coverage on Korean cinema, including but not limited to: features; festival news; interviews; industry news; trailers; posters; and box office. It appears every Wednesday morning (GMT+1) on Modern Korean Cinema. For other weekly features, take a look at the Korean Box Office Update and the Weekly Review Round-up. Reviews and features on Korean film also appear regularly on the site. 

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

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Sunday, August 7, 2011

Dueling Masculinities in Running Turtle (Geobugi dallinda, 2009)

Just a look at the synopsis for Running Turtle will invite a lot of comparisons to Na Hong-jin’s seminal 2008 work The Chaser. It is a thriller about a middle-aged detective who gets booted out of the force and goes after a young wanted fugitive. The detective is played by none other than Kim Yun-seok, also the lead in Na’s thriller. This is a different beast though, but no less compelling and effective in its depiction of a middle-aged tough guy forced to the end of his wits and the edge of his already shady moral compass.

Domestic scene
Kim, who has truly become a force to be reckoned with of late, is magnificent as Pil-seong, the rough-around-the-edges anti-hero. He is a lone wolf, experienced enough to understand how things work, and not above abusing the system to his own ends. Despite his malefactions, his family is nearly penniless and he gambles most of his earnings away to escape the endless tirade of abuse he receives from his ever-suffering wife. The domestic scenes in the first part of the film are a marvel, which may seem like a strange word to use because they are brutal and unpleasant. However, they are so well staged, passionately acted, and efficiently paced that they become energetic, as well as vituperative, and strangely endearing. We feel for Pil-seong when contrasted with his wailing banshee of a wife but no sooner does he leave the confines of his home when he’s up to his old tricks which likely are the cause of his life partner’s bitterness.

The film also follows another character, Gi-tae, who is a famed martial artist on the run after having escaped from jail. Pil-seong, after having been suspended from the force for brutality and subsequently reached rock bottom, gets lucky when he gambles his wife’s savings on a long shot and wins. He is not so lucky when Gi-tae attacks his bookies for being offensive to his girl and takes his winnings. From this point on he tries to apprehend Gi-tae, even though each time he corners him he gets beaten to within an inch of his life. For some it may be frustrating to watch Pil-seong go after Gi-tae when it is so clear that he will be overwhelmed, but it is a demonstration of remarkable tenacity and stubbornness on the former’s part. The reason for this is that Gi-tae has become embroiled with Pil-seong at a very fragile time. Being booted off the force, unable to provide for his family, facing the ire of his wife, and losing the respect of all his former colleagues, he his emasculated to a degree where he will do anything to prove his masculinity. Running straight into Gi-tae’s fists, knowing full-well that he will be overcome, is the little he can do to stake his claim at being a man. The more he loses, the more frustrated and careless he becomes. As such he joins the ranks of the many post-traumatic males of Korean cinema that have appeared in the last 25 years.

Pil-seong (Kim Yun-seok) after winning his bet
The film is ostensibly about a man chasing down a criminal but really the narrative pits Pil-seong in a scrappy fight and breathless search for his elusive masculinity. After being pummeled again and again, he must pullback and make use of his mental faculty. It is thought and intellect that will allow him to reclaim his desired position in society, as in this instance physicality has clearly failed. The climax and the audience’s interpretation will decide whether he succeeds in reclaiming his identity. In the meantime the other male in the narrative serves as an obstacle.

Gi-tae seems like a one-note character that we learn little about, he is just young, boyishly handsome, and endowed with nearly superhuman fighting skills. Korean cinema seems to be rife with characters who seem positively unbeatable, although they always fall in the end, recent examples include Haunters (2010) and The Yellow Sea (2010). The latter in particular featured Kim Yun-seok yet again in another role in which he displays a gritty bravado and masculinity. Unlike The Chaser and Running Turtle however, his character in The Yellow Sea is in complete control of his persona and with ruthless brutality and unnerving calmness, easily cuts down his adversaries dozens at a time. Haunters features Choi Deok-moon as a nearly emotionless psychic with the ability to control everyone that comes near him like a puppet, save for the hero. Much like Pil-seong, the hero in Haunters puts himself continually in the psychic’s path with no tangible plan of action, although he does not suffer from the same kind of masculine lack.

Pil-seong cannot overcome Gi-tae physically
These all-powerful antagonists typically show very little emotion and even less regard for human life. They have spades of masculinity but are disconnected from normal society and healthy human interactions. As far as the recuperation of the male id in Korean cinema, which generally takes the form of men who blunder through narratives in search of their lost masculinity, these characters seem to emanate from the darker side of this act of reconstitution. They have their masculinities but at the expense of all else: history has been erased or deliberately forgotten.

Gi-tae is on some kind of a journey too but his destination or goal isn’t clear. He fights, or rather defends himself, during the film but still hangs around. Perhaps he has nowhere to go, certainly he has no need to reconstitute his masculinity as he is not emasculated like Pil-seong. Yet his identity is lost and perhaps he knows that he cannot recuperate it, any journey he goes on must therefore be doomed.

For these reasons Running Turtle acts as a very effective thriller and fascinating, if somewhat simplistic, character study. It helps that it builds momentum on the way towards its climax. The more I think about it, this film is actually very similar to The Chaser, thematically as well as aesthetically. Strongly recommended for fans of thoughtful, well-made Korean thrillers.


Reviews and features on Korean film appear regularly on Modern Korean Cinema.  For film news, external reviews, and box office analysis, take a look at the Korean Box Office Update, Korean Cinema News and the Weekly Review Round-up, which appear weekly on Monday, Wednesday, and Friday mornings (GMT+1).

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

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Saturday, August 6, 2011

Children ... (A-i-deul...) 2011

Children… opens with a young boy running in slow motion in a red cape in rural Korea in the early 1990s, accompanied by stirring music, a Korean Mendelssohn-esque string symphony. Right from the bat this is an emotional affair, the kind of scene that Korean filmmakers are so adept at. They can wring out feelings from their spectators without even presenting a story or real characters. All they need are a few symbolic images and some top-flight mise-en-scene and we are powerless to resist. The next few minutes quickly set the scene for something ominous to happen, once again without giving us any real information. The cinematography and exceptional score do all the work and give us everything we need to know.

Opening shot
I went into this film not knowing a thing about it but it was easy to tell where it was going from those opening moments before the title shot. I was reminded of Friend (2001) and Memories of Murder (2003) in equal measure. Naturally I grew very excited and eagerly followed the plot as a group of children go missing and are not found. A few years later a shamed TV producer (Park Yong-woo) comes to the town and starts his own investigation in order to rebuild his reputation. He enlists the help a professor (Ryoo Seung-yong) with a few crazy ideas but encounters the resistance of the local law enforcement. The narrative doesn’t quite follow where you think it will after that but I will let you discover that for yourself.

The music in this film was truly extraordinary, not just in its quality but also in its power when combined with the visual medium. This brings me to an interesting question: how is it that from time to time we can experience a potent degree of catharsis without having followed a narrative or any character’s trajectory? Children… successfully raised a lump in my throat and made me feel something before I even knew any of the character’s names. Sadly the film did not ultimately follow through on this as I felt it was rife with problems, and yet at numerous points during the film I found myself affected by the evocative music and impressive technical skill on display.

Park Yong-woo as the TV producer
Music is used in cinema (and television) to heighten the emotions of a certain scene. The best examples of this are the short staccato and loud spikes in horror, the sweeping strings in melodrama, and the bombastic orchestral pieces used in epics, war, and action films. There are numerous other examples but those three display their effectiveness and their potential. Music can lift a dull scene, get the heart racing, or unscrew the valve to your tear ducts, but it isn’t often that it will completely hijack your state of mind irrespective of what is on screen. It does happen of course, there are certain pieces of music that are so well-known and beautiful that they will always prompt a strong reaction. Good examples are the second movement of Beethoven’s 7th symphony and Debussy’s Claire de lune, both overused at this point but it’s easy to see why. On a purely subjective level each and every one of us may react differently to individual pieces, it’s extraordinary how one piece of music may change your perception of a film.

Ryoo Seung-yong as the professor
Korean films often have excellent scores, I’m sure that there are a handful of composers that are at the heart of this but I couldn’t tell you who they are. Children… started to lose me, especially in the second half but every times they broke out the strings I was helpless, captivated, but by what and why? Let’s go back to the opening scene and examine it, music, slow-mo, boy running in red cape, 20 years ago. The little information at hand is actually crucial and as much as this scene may elicit an emotional response from a foreign viewer, I imagine it must be even more so for a Korean. The red cape brings to mind the bloody Gwangju massacre of 1980, in which thousands of students dressed in red were slaughtered by the military government for protesting. The dinky village roads and muted colors (save for the red) evoke the still recent past of a country which has suffered an enormous amount of trauma. What’s impressive is that I think the scene is still powerful even if you are not privy to that information.

As for the rest of the film, there are a number of interesting themes that are presented. There is the process of grief in Korea, which is shown in a manipulative and rather ham-fisted way and includes themes of the role of the parent and sacrifice. Then there is a veiled commentary on the passage of time in modern Korean society as the disappearance of the youths is all but forgotten as the nation moves on. Not all move on though and it is not only the parents who refuse to let go but the professor as well. He reminds me of the intellectuals in the Korean New Wave films of the 1980s and early 1990s. It seems like a criticism of the systematic glossing over of a national history that has become too difficult to bear, it is easier to forget.

Emotional but somewhat manipulative
That last point seems very familiar, indeed I’ve already mentioned it, but I think that Children… takes more than a few pointers from Memories of Murder and as it warrants the comparison it must be said that it pales significantly in its wake. Other than that the film suffers from an odd structure, an excessive running time, somewhat undeveloped characters, and too much reliance on forced melodrama. The parts that work, and I’ve described them at length, work wonderfully and are more-or-less worth giving the film a chance but they are not supported by a substantive narrative. Maybe I’m getting a little tired of kids going missing films, the last 12 months alone have given us Children…, Man of Vendetta (2010), and No Doubt (2010), all of which fell short in some regard.


Reviews and features on Korean film appear regularly on Modern Korean Cinema.  For film news, external reviews, and box office analysis, take a look at the Korean Box Office Update, Korean Cinema News and the Weekly Review Round-up, which appear weekly on Monday, Wednesday, and Friday mornings (GMT+1).

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

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Friday, August 5, 2011

Weekly Review Round-Up (07/30-08/05, 2011)

This is a brand new feature I am dabbling with which aims to round up all of the reviews published within the week on Korean films. I categorize them as: NEW KOREAN RELEASES, movies that have just or are about to be released in Korea; CURRENT WORLDWIDE RELEASES, new films that are making the rounds at film festivals or being released in foreign territories; and PAST FILMS, reviews for films that are no longer current.

The reviews will come from print sources, major websites, and blogs. If you know of reviews that are current but are not listed below please let me know via twitter or email. The formatting is for the moment very simple and I will likely change it in subsequent editions. I may or may not create a directory of reviews which I will maintain on a weekly basis with his update. Any suggestions or comments are most welcome!


NEW KOREAN RELEASES

(The Korea Times, August 4, 2011)

(Film Business Asia, August 4, 2011)

(Film Business Asia, July 30, 2011)

(The Korea Times, July 28, 2011)


CURRENT WORLDWIDE RELEASES

(Montreal Gazette, August 1, 2011)

(The Bourne Cinema Conspiracy, August 1, 2011)

(Rockstar Weekly, August 4, 2011)


(Sounds Like Cinema, August 5, 2011)

(Sounds Like Cinema, August 5, 2011)


PAST FILMS

(New Korean Cinema, August 3, 2011)

Ghost Theatre, 2006 
(Hangul Celluloid, August 1, 2011)

(Modern Korean Cinema, August, 2, 2011)

The Restless, 2006 
(Modern Korean Cinema, August 3, 2011)


The Weekly Review Round-up is a weekly feature which brings together all available reviews of Korean films in the English language (and sometimes French) that have recently appeared on the internet. It is by no means a comprehensive feature and additions are welcome (email pierceconran [at] gmail [dot] com). It appears every Friday morning (GMT+1) on Modern Korean Cinema. For other weekly features, take a look at Korean Cinema News, and the Korean Box Office Update. Reviews and features on Korean film also appear regularly on the site. 

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

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Thursday, August 4, 2011

Year by Year Feature Project

There are many Korean films in my to watch pile and I wonder how long it will take me to go through them. I've noticed that of late I've watched a huge amount of 2010 films and this has given me the not so novel idea of watching as much as I can stomach and write up a comprehensive feature on that year and start over again for 2009, then 2008, and see how far I get and what I discover along the way. I imagine that there will be lengthy intervals between each year but 2010 shouldn't be too far away, a month or two I hope.

In any case, below are the films I've seen from last year and after that is a list of films that I am planning to watch, most are at hand and some of them I know are bad. The dates I use are up for debate and if there is any thing you think I've missed please let me know!

Films Seen

71: Into the Fire
A Barefoot Dream
A Better Tomorrow
A Long Visit
Attack the Gas Station 2
Bad Couple
Banga? Banga!
Bedevilled
Cyrano Agency
Death Bell 2: Bloody Camp
Foxy Festival
Grand Prix
Hahaha
Harmony
Hello Ghost
I Saw the Devil
July 32nd
Lady Daddy
Le Grand Chef 2: Kimchi Battle
Man of Vendetta
Midnight FM
Moss
My Dear Desperado
Natalie
No Doubt
No Mercy
Oki's Movie
Parallel Life
Poetry
Secret Love
Secret Reunion
The Fair Love
The Haunted House Project
The Housemaid
The Influence
The Man From Nowhere
The Neighbor Zombie
The Yellow Sea
Troubleshooter
Twilight Gangsters
Villain and Widow
Wedding Dress
Yosul

Films to Watch

Eighteen
Enemy at the Dead End
Passerby #3
The Recipe


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