Jeonju 2018 Review: GRADUATION Scores Top Marks for Its Young Director and Star

By Pierce Conran

Making films is hard anywhere, but in Korea, where so many youths dream of entering what is a successful yet relatively small industry, it's a particularly tricky proposition. Thus it comes as little surprise that so many debut features focus on the hardships of making films. Korean film festivals have provided a platform to many of these works over the years, including Lee Byoung-heon's Cheer Up, Mr. Lee, Park Joon-bum's Director's Cut and Baek Jae-ho's We Will Be OK. Jeonju featured another one this year, but Graduation, from the 23-year-old Hui Ji-ye, offers a unique and refreshing view on the subject, despising hewing to many similar themes.

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Jeonju 2018 Review: HELLO DAYOUNG, Korean Comedy Goes Full Chaplin

By Pierce Conran

For the third year on the trot, and after already receiving two prizes, director Ko Bong-soo returns to the Jeonju International Film Festival with his third work, Hello Dayoung. Largely working with the same troupe of actors, who are taking turns in the lead roles of his films, Ko's latest maintains the comic bent and sweetness of his prior works but this loving homage to silent comedy ditches his unique colloquial dialogue. Shot in black and white and sped up to achieve the accelerated frame rate of the silent era, this 62-minute romantic comedy is all heart but doesn't always work as a feature.

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Review: BELIEVER, Explosive DRUG WAR Remake Puts Faith in Livewire Cast

By Pierce Conran

Korean noir gets an action makeover in Believer, the explosive and hugely entertaining local remake of Johnny To's mainland Chinese crime saga Drug War. A parade of Korean character actors sink their teeth into deliciously over-the-top characters, including the beloved Kim Joo-hyuk, in his final screen role (completed just before his death in a car crash last October), in a retelling that both improves on and falls short of the original.

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Cannes 2018 Review: BURNING, a Slow Burn for the Ages

By Pierce Conran

Eight years after his phenomenal drama Poetry, Lee Chang-dong makes a long-awaited return to the Cannes competition with his sixth film Burning, an adaptation of Haruki Murakami's short story 'Barn Burning'. Dense with symbolism, this tour de force burrows towards the ineffable as it gradually builds palpable tension through a mystery that begins to consume its lead character. Yoo Ah-in and Steven Yeun both deliver career-best work while newcomer Jeon Jong-seo is a marvel as the girl who finds herself caught between them.

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Review: HUMAN, SPACE, TIME AND HUMAN aka Rape: The Movie

By Pierce Conran

The work of Kim Ki-duk has been contentious for many reasons over the years, with the rampant misogyny that permeates his films being a particular bone of contention amongst critics. His most recent outing doesn't so much add fuel to that fire as drop a bomb on it. Featuring rape at almost every turn, Human, Space, Time and Human is what happens when you feed an ego and allow its pathological violence to go unchecked for two decades. Savage chauvinism aside, Kim's latest is also a puerile and repetitive film from a voice that has long since given up trying to say anything worthwhile.

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Review: 1987: WHEN THE DAY COMES Offers Timely and Powerful History Lesson

By Pierce Conran

Save the Green Planet director Jang Joon-hwan mobilizes dozens of familiar faces, including The Chaser and The Yellow Sea stars Kim Yun-seok and Ha Jung-woo, for a weighty and powerful dramatization of the birth of Korean democracy. Following a slew of other politically-minded films, the sprawling protest drama 1987: When the Day Comes caps off what has been a tumultuous year for Korea that began with millions on the streets and resulted in the scandalous downfall of a polarizing head of state.

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Review: ALONG WITH THE GODS: THE TWO WORLDS, Ambitious Fantasy Epic Indulges in Cheesy Backdrops and Melodrama

By Pierce Conran

Riding in on a wave of curiosity and anticipation, popular webcomic adaptation Along with the Gods: The Two Worlds, the opener of Korea's first simultaneously filmed two-part series, represents one of the biggest gambles in Korean film history. No Korean film has ever relied on so much VFX work and at a cost of roughly $36 million, failure would spell certain doom for the people behind it.

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