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29th BIFF: Celebrating Asian Cinemas

Sep 27, 2024
  • Source by KoBiz
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 The contributions of external writers may differ from the opinions of KoBiz & KOFIC, and they do not represent the official views of KOFIC. 


As the Busan International Film Festival (BIFF) enters its 29th edition, it showcases a bold lineup of Korean cinema, Southeast Asian collaborations, and diverse Asian voices while navigating political tensions, industry challenges, and evolving media trends.

As the Busan International Film Festival (BIFF) enters its 29th edition in October 2024, it contends with the aftermath of recent internal controversies and broader industry challenges. Marc Raymond (2023) explains that the festival has been walking a tightrope, balancing artistic expressions with political considerations, particularly after the screening of Shusenjo: The Main Battleground of the Comfort Women Issue in 2023, which heightened tensions between South Korea and Japan(Raymond, M., (2023) "Festival Aesthetics Amidst Festival Politics", Film Criticism 47(1). doi: https://doi.org/10.3998/fc.5122). Echoing these concerns, Jason Bechervaise (2024) discusses the delicate act BIFF must perform, carefully managing aesthetic freedom, geopolitical sensitivities, and diminishing financial support(Bechervaise, J., (2024) "The Busan International Film Festival: From Crisis to Renewal", Film Quarterly 77(3), 86-92. doi: https://doi.org/10.1525/fq.2024.77.3.861). With these obstacles in mind, the festival now faces the task of preserving its legacy of bold, high-quality programming while maintaining a stance of diplomatic neutrality. 

 

 

(29th Busan International Film Festival Official Poster) 

 

Understanding BIFF’s place within the broader Asian film festival circuit is key to contextualising its current situation. Alongside other major film festivals in Hong Kong, Shanghai, Singapore, Taipei, and Tokyo, BIFF must carve out a distinctive identity while simultaneously working toward the collective goal of promoting Asian cinemas. However, the challenges BIFF faces extend beyond its content and politics. The festival must also respond to evolving media consumption trends while upholding its reputation for cinematic excellence. 

 

In light of these pressures, the 29th edition of BIFF presents a carefully curated lineup that merges cinematic endeavours with acute political awareness. Opening the festival is Uprising, directed by Kim Sang-Man and produced by renowned filmmaker Park Chan-wook, which signals a powerful message. This selection recalls the festival’s 1996 debut, which helped to elevate the careers of

Korean New Wave filmmakers like Bong Joon-ho and Park Chan-wook. Uprising not only explores the impact of war on two childhood friends turned enemies but also addresses broader themes such as class conflict and Korea-Japan relations, reflecting BIFF’s continued dedication to showcasing socially conscious cinema. Additionally, with the inclusion of Netflix-distributed films and K-drama premieres—a continuation of a 2023 initiative—BIFF demonstrates its openness to both traditional cinema and digital platforms, acknowledging the wide range of Korean visual storytelling across different media. 

 

 

(Still from Uprising. Courtesy of Netflix) 

 

At the heart of the festival is the prestigious "Jiseok" competition, named in honour of BIFF’s late program director, Kim Jiseok. This year, the spotlight is shared by South Korea and Japan, each with two entries: I am Love by Baek Seungbin and So It Goes by Lee Harum from Korea, and Aimitaga by Kusano Shogo and Travelling Alone by Ishibashi Yuho from Japan. Complementing this East Asian

focus is Taiwanese director Tom Lin Shu-Yu’s Yen and Ai-Lee. Extending the festival’s geographic reach, Deal at the Border by Kyrgyzstan’s Dastan Zhapar Ryskeldi brings Central Asia into the fold, while Southeast Asia is represented by Motherland by Brillante Mendoza from the Philippines, and South Asia by Rima Das’s Village Rockstars 2 from India. This thoughtfully curated selection underlines BIFF’s commitment to cross-cultural dialogue through cinema, bridging historical and political divides while celebrating the rich diversity of Asian filmmaking, from East Asia to South and Southeast Asia.

 

While BIFF emphasises a strong global presence in competition, it also remains steadfast in its

celebration of local talent and its rich cinematic heritage. This year’s festival features 24 Korean feature films across sections such as "Special Premiere," "Panorama," and "Vision," as well as a dozen shorts in "Wide Angle." Cinematic luminaries like Hong Sang-soo are given their due, with both his latest work A Traveller's Needs (2024) and the earlier Our Sunhi (2013) gracing the screens. Korean cinema further occupies significant spaces across various sections, with nine feature documentaries highlighting the nation’s impressive cinematic output. A special tribute to the late actor Lee Sun-Kyun, with five films commemorating his cinematic contributions, further deepens the emotional resonance of this year’s festival, affirming BIFF’s dedication to celebrating Korean filmmaking.


Despite the strong emphasis on domestic talent, BIFF remains firmly rooted in a global context. The festival’s gaze extends beyond the Korean peninsula, as evidenced by the selection of Singaporean auteur Eric Khoo’s Spirit World (2024) as the closing film. A co-production between Singapore, Japan, and France, the film stars Catherine Deneuve as legendary singer Claire Emery, who flies to Japan for a final sold-out concert, but as the show comes to an end, so does her worldly life. This selection not only highlights BIFF’s commitment to Southeast Asian cinemas but also marks a growing trend in regional industries toward cross-border creative and financial collaborations. As national cinemas become more interconnected, the festival lineup demonstrates an awareness of how these transnational partnerships are reshaping the global film landscape, making traditional notions of cinema tied to a single nation increasingly complex.

 


Still from Eric Khoo’s Spirit World 
(Courtesy of L. Champoussin/M.I.Movies/Zhao Wei Films/KnockonWood/Wild Orange/Fourier Films)

Singapore’s prominence at BIFF this year vividly illustrates the rise of cross-border collaborations in cinema. The city-state plays a key role in several major co-productions that extend beyond Asia, including Tumpal Tampubolon’s Crocodile Tears (Indonesia, France, Singapore, and Germany, 2024) and Amanda Nell Eu’s Tiger Stripes (Malaysia, Taiwan, Singapore, France, Germany, the Netherlands, Indonesia, and Qatar, 2023), which was the opening film at last year’s 34th Singapore International Film Festival (SGIFF). These films highlight Singapore’s openness to facilitating creative and financial partnerships across diverse international landscapes. Moreover, this presence aligns with Singapore’s ongoing efforts to amplify Southeast Asian voices—a mission long championed by the Singapore International Film Festival (SGIFF). BIFF’s increasing number of Singaporean co-productions underscores the dynamic nature of regional and global filmmaking today.

This spirit of transnational collaboration is further exemplified by other notable entries involving Singapore at BIFF. Duong Dieu Linh’s Don’t Cry, Butterfly (2024) unites Vietnam, Singapore, the Philippines, and Indonesia, while Chiang Wei Liang and You Qiao Yin’s Mongrel (2024) and Nelicia Low’s Pierce (2024) reinforce creative ties between Taiwan and Singapore. Additionally, Sivaroj Kongsakul’s Regretfully at Dawn (2024) and Truong Minh Quy’s Viet and Nam (2024) expand the Southeast Asian cinematic network by incorporating Thailand and other neighbouring countries. These co-productions underscore the diverse ways Asian film industries are striking a balance between national identity and global appeal in today’s increasingly convergent media landscape.

However, amidst this flurry of international activity, Korean cinema’s participation in such ventures seems more limited this year. The exception to this trend is The Maw Naing’s MA - Cry of Silence, a notable collaboration involving Myanmar, Korea, Singapore, France, Norway, and Qatar. While this relative disparity in cross-border involvement might appear to signal a gap, it actually highlights an opportunity for Korean filmmakers to deepen their engagement in future co-productions, potentially expanding their global influence.

Like other leading film festivals, BIFF’s role goes beyond simply showcasing films; it functions as a platform for filmmakers, industry professionals, and cinephiles to exchange ideas and explore new creative strategies. While BIFF offers South Korea valuable insights into the transnational filmmaking practices embraced by its Southeast Asian counterparts, it also serves as a model for others. This
reflects the broader ecosystem that sustains filmmaking—cross-border collaborations, financial backing, expanded distribution networks—all of which amplify diverse cinematic voices and visions. BIFF exemplifies how a well-rounded support system—encompassing filmmakers, producers, distributors, and cultural institutions—can advance regional cinemas to a global level. As international attention increasingly shifts toward Asian, especially Southeast Asian, cinemas, BIFF remains a key advocate for the region’s rich narratives.

Looking ahead, there is much to anticipate from the upcoming BIFF as it continues to be a powerful voice within and beyond the Asian film festival circuit. Throughout its history, BIFF has shown resilience and adaptability, maintaining its relevance amid industry changes. This capacity to evolve, coupled with its dedication to showcasing diverse voices and visions, signals a bright future—not just for the festival itself, but for the stories Asian cinemas will continue to share with the world.

About the writer
Sim Jiaying is the founder and manager of Singapore Film Database (http://sgfilmdb.com), a comprehensive digital resource that provides information on the films, organisations, and venues defining Singapore’s film ecosystem. She is also a programmer for the 35th Singapore International Film Festival. She holds a PhD in Film and Television Studies from the University of Glasgow. Her research explores affect in global screen cultures. More of her work can be found at https://simjiaying.com.

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