Blue Is the Warmest Color (Abdellatif Kechiche, France)
The Cannes Palm d’Or winner that also has its fair share of controversy, but besides this and its prestige I am most looking forward to Blue is the Warmest Color because it is an epic love story with two phenomenal leads and an unmatched attention to detail and obsessive style. (Kwenton)
Ilo Ilo (Anthony Chen, Singapore)
Singapore doesn't often get mentioned in the realm of Asian cinema but Anthony Chen's Ilo Ilo certainly raised a lot of eyebrows after its Jury Win at the Cannes Film Festival this year and it's been riding that good will all the way to Busan. Eager to check out an exciting new film from a part of the world I don't now very well. (Pierce)
Miss Violence (Alexandros Avranas, Greece)
The ‘weird wave’ is over for Greek cinema. It has been replaced by post-bankrupt statements of an country lacking in confidence; families have been torn apart and conventions rocked to their core. Miss Violence investigates and instigates as it revolves around a mysterious suicide and a strangely tight lipped family who witnesses it.
They all claim it was an accident but this stylish statement aims to get to the truth of that matter, unveiling along with it the ugliness of society masked by bitterness and cynicism. (Kwenton)
Moebius (Kim Ki-duk, South Korea)
My favorite living auteur releases a new film whose plot is so extreme some newspaper reviews cannot even describe it. On top of this the film contains no dialogue. The film was banned in Korea before undergoing a minor cut, needless to say my expectations and desire to be truly disturbed cannot be higher and there is nothing else that can be said until it has been experienced. (Kwenton)
Pascha (Ahn Seon-kyoung, South Korea)
Of the many Korean films at BIFF this year, New Currents pick Pascha has been getting a lot of early buzz within the industry. There's always a few remarkable Korean indie debuts in Busan each year and with its understated story and pressing themes, this may well be one of this year's breakouts. (Pierce)
R100 (Matsumoto Hitoshi, Japan)
To be honest, I'm not expecting this to be one of the best films of the fest, but after seeing what I'm sure will be a myriad of artful and sometimes very depressing films, I'm sure I'll be glad for some silly fun, and this seems to fit the bill.
Plus, I need to see what Todd ate his shirt over, I hate feeling left out. (Pierce)
The Fake (Yeun Sang-ho, South Korea)
Korean animation is turning into a thing these days and I suggest you keep an eye out as a number of very interesting projects which may elevate it to the next level are imminent. However, if any name stands out today, it's Yeun Sang-ho, whose debut The King of Pigs was a brutal wakeup call.
The Fake certainly won't be any easier to sit through but if the reactions to date (from Toronto and Sitges, not to mention among those in the know in the local industry) are anything to go by, this is one that shouldn't be missed. (Pierce)
The X (Kim Jee-woon, South Korea)
A new film by Kim Jee-woon (I Saw the Devil, 2010) is reason enough to be excited, but this supremely stylish short aims to dazzle with a break-neck pace and a 270 degree viewing experience with the ScreenX technology. A truly unique cinematic experience only Busan can offer. (Kwenton)
Transit (Hannah Espia, Philippines)
I've taken a keen interest in Filipino cinema recently and this debut, which has been picked to represent the country at the Oscars this year, has received enough attention to peak my interest. Though their means are meager, Filipino filmmakers of late have managed to do a great deal with very little. (Pierce)
Why Don't You Play in Hell (Sono Sion, Japan)
I adore the Hate trilogy. Sono’s groundbreaking, darker than black, ultra-stylish and violent trio of films about the sickness inherent in Japanese contemporary society. Following this punk-rock aesthetic came the dour but emotional Fukushima post-trauma films that made me yearn for his fun side again. With the buzz and consistent positive word received from festivals the world over, his latest work will no doubt satisfy and then some, a bloody good time indeed. (Kwenton)