BIFF 2012: Park Chul-soo's B·E·D (2012)

Part of MKC's coverage of the 17th Busan International Film Festival.

A small and sensual chamber piece, Park Chul-soo’s new feature B·E·D (his 27^th) brings to mind Green Chair (2005), his most significant work of the last decade. However, whereas that erotic film was a fascinating study of an unconventional relationship, Park’s new film can’t seem to move beyond its bedroom antics. Granted, as intimated by the title, a bed is the chief component of the film: It is the principal location and also serves as a heavy metaphor for a man’s lifelong obsession with sex, and, by extension, all men’s carnal fixation.

Based on a short story by Kwon Ji-ye of the same name, B·E·D features a man, presented to us as ‘B’, whose life ‘begins on the bed and ends on the bed’. He has an affair with married woman ‘E’ and later, after she breaks up with him, he marries ‘D’, a single mother and career woman.

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KBO: Masquerade Still Top After Enormous Holiday Week (10/05-10/07, 2012)

Masquerade Still Top After Enormous Holiday Week

	Title	Release Date	Market Share	Weekend	Total	Screens
1	Masquerade	9/13/12	48.00%	849,999	8,220,479	867
2	Taken 2 (us)	9/27/12	16.20%	271,598	2,094,497	507
3	Ghost Sweepers	10/3/12	14.80%	264,961	617,456	479
4	Brave (us)	9/27/12	10.40%	188,398	963,115	478
5	Spy	9/20/12	4.10%	73,413	1,255,749	296
6	Ted (us)	9/27/12	3.00%	49,642	217,239	204
7	Wolf Children (jp)	9/13/12	1.30%	24,286	297,537	124
8	Tad the Lost Explorer (us)	9/20/12	0.50%	10,432	202,045	96
9	Take This Waltz (ca)	9/27/12	0.40%	6,291	19,412	22
10	13 (us)	10/3/12	0.30%	5,760	8,670	108

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BIFF 2012: Behind the Camera (뒷담화, 감독이 미쳤어요, Dwitdamhwa, Gamdokyi Micheotseoyo) 2012

Part of MKC's coverage of the 17th Busan International Film Festival.

E J-yong’s new feature Behind the Camera is a follow-up to his popular mockumentary Actresses (2009), which featured famous stars playing themselves as they took part in a Vogue shoot. That film poked fun at Korea’s entertainment industry and its willing participants were not scared to send themselves up on screen. Many of the same stars return here and are joined by numerous others, but this time E takes his game one step further as he includes himself as the main protagonist.

The conceit is simple: E J-yong is making a short film but there’s a catch, he’s directing it from Los Angeles via Skype. Things get more complicated as the film he is shooting concerns a filmmaker directing a film from overseas via skype.

There’s really no better word to describe this film than ‘meta’, a term that frequently made me cast my eyes up to the heavens back in my film studies days. Behind the Camera features a narrative that is consciously seeking to replicate itself. However, while the A plotline (featuring E as the director) is presented as a documentary it is almost impossible to trust the filmmaker. His intentions are very playful and most of the protagonists in the film don’t trust him, so why should we? Fact and fiction become blurred to the point where we are prompted to ask ourselves what we find acceptable as a narrative. E’s point (if he is indeed trying to make any) may be that very little justification is required when seeking to tell a story.

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BIFF 2012: Mai Ratima (마이 라티마) 2012

Part of MKC's coverage of the 17th Busan International Film Festival.

Debut features arrive with a weight of expectation but especially if they come from a major thespian making his first foray behind the camera. Yoo Ji-tae is one of Korea’s most well-known actors, he is a celebrity whose marriage last December was one of 2011’s top entertainment stories. To western audiences he will forever be known as the ageless and dapper antagonist from Oldboy (2003) but he has also impressed in dozens of other features throughout his 15-year career. A handsome and very tall performer, Yoo is perhaps a surprising directorial candidate, especially as few Korean performers transition into that role (the boundaries between Korean film industry professions are starker than Hollywood’s more fluid models). However, Yoo has steadily been earning credibility for himself as a short filmmaker over the past few years.

Mai Ratima, which takes its name from its Thai protagonist, is a film that takes a look at the fate of low-class immigrants in Korea. Hard-hitting and at times whimsical, it is a compelling feature that is thoughtfully constructed and deftly executed if overlong and a little too on-the-nose with its social agenda. Most impressive is Yoo’s engaging mise-en-scene. Saturated in heady hues, beautifully lensed and exquisitely edited, Mai Ratima feels like it is the product of a much more experienced hand, certainly not a rookie offering from a paparazzi magnet.

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WKR: Busan Reviews Pour In (09/29-10/05, 2012)

Little late in posting this as I got caught in covering my first Busan Film Fest, starting my new job at the Korean Film Council and moving into a new apartment! That said, plenty of great content from BIFF and will have caught up on all of the Weekly Korean Review updates by weekend's end!

Thanks for your patience!

UPCOMING FILMS

Fire in Hell

(Next Projection, October 1, 2012)

Mai Ratima

(Screen Daily, October 5, 2012)

National Security

(The Hollywood Reporter, October 4, 2012)

Sleepless Night

(Variety, October 29, 2012)

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BIFF 2012 - Opening Film: Cold War (Hong Kong) 2012

Part of MKC's coverage of the 17th Busan International Film Festival.

If Cold War, the opening film of this year’s Busan Film Festival, is heralding a new paradigm for commercial Hong Kong cinema, then I can’t say that it’s something I’m very excited about.  Over-produced and austere, it features strong and slick production values but lacks the confidence, verve or panache of the likes of Johnny To. A potentially interesting tale of internal corruption within the upper echelons of HK law enforcement, the film mostly takes place in brilliant high rises, far from the bustling streets below. The colors are muted, the angles stark, and the production design is far too neat, all of which create a distancing effect: it's hard to get into the rhythm of the film. The lifeless performances, relentless pacing, bombastic staging and needlessly convoluted plot only add to the woes of this disappointing effort from two new directors which ample experience in the field.

Leung Lok-Man and Luk Kim-Ching’s resumes as behind-the-scenes experts, Leung as an art director and Luk as an assistant director (including on the Macau sequences of this year’s Korean blockbuster The Thieves), are readily evident on screen, as the proceedings are immediately swept up in a concisely-edited urban aesthetic. Set pieces, though uneven, are often impressive. Taking a page from To’s book, some of the film’s best scenes are well-constructed sequences of breathlessly combined parallel scenes.

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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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