Tag: busaninternationalfilmfestival

Busan 2021 Review: THE APARTMENT WITH TWO WOMEN, Sensational Debut Is an Electric Dysfunctional Family Drama

One of the most dysfunctional families of recent memory has its dirty laundry aired out in the hypnotic The Apartment with Two Women, an ambitious and surprisingly mature debut from 29-year-old director Kim Se-in. In a barnstorming performance, Yang Mal-bok...

Busan 2020 Review: LIMECRIME, Tone Deaf Hip-hop Biopic

As a self-confessed Korean hip-hop ‘stan’, Limecrime is a dismal disappointment. This is Directed by the actual former Limecrime duo LEE Seunghwan and YOO Jaewook, who moved on from performing together in the early aughts and are no longer part...

Busan 2020 Review: THE PREDATORS, Stylish Italian Dark Comedy Debut

Twenty-eight year old newcomer Pietro Castellitto debuts with this assured, sharply scripted black comedy about class, wildly different families and the individuals that comprise them. It was frankly shocking to learn the Director of this film is so young, as...

Busan 2020 Review: GOOD PERSON Compels With Its Dizzying Morality Play

With confident direction in the first few frames alone, this debut feature from JUNG Wook is a masterful mystery. Good Person draws comparisons to European cinema; epic yet intimate portrayal of ethics, morality and human nature in the contemporary. These...

Busan 2020 Review: HAPPY OLD YEAR; Minimalist Design, Maximalist Selfishness

The philosophy or art of letting go; the artifice of such a belief or methodology questioned in a purposely staged environment is how Happy Old Year introduces its jaded protagonist Jean (Chutimon Chuengchar, Bad Genius). She is interviewed by a...

Busan 2019 Review: COMING HOME AGAIN, A Personal Chamber Piece on Food and Filial Piety

In Coming Home Again, a Korean American man returns home to take care of his dying mother in this modest and sensitively-rendered chamber piece that takes place in the span of one day on New Year’s Eve. Adapted from a...

Busan 2019 Review: LIGHT FOR THE YOUTH Conveys the Desperate Struggles of South Korea's Younger Generation

The acute hardships of South Korea’s youth and the dog-eat-dog mentality of the corporate workplace are the focus of writer-director Shin Su-won’s fourth feature, Light for the Youth. With Glass Garden (2017), Madonna (2015) and Pluto (2012), Shin’s previous films...

Busan 2019 Review: THE EDUCATION, A Life Lesson on Human Nature

In The Education, a young woman develops an unlikely relationship with a teenager when she is hired to take care of his severely disabled mother. One of three Korean features in the Busan International Film Festival’s New Currents competition section, director...

Busan 2019 Review: AN OLD LADY Addresses Elderly Rape, Ageing and Mortality

Premiering in the Busan International Film Festival’s New Currents competition section, Lim Sun-ae’s An Old Lady touches on the less-commonly addressed issue of elder sexual abuse in South Korea. A 69-year-old lady accuses a nursing assistant of rape at a...

Busan 2019 Review: KYUNGMI'S WORLD, Bleak and Unsparing Portrait of the Ties that Bind

In Kyungmi’s World, we never get to see the face of the titular Kyungmi. Instead, the main characters in the film are Soo-yeon (Kim Misu) – Kyungmi’s daughter – and her estranged grandmother Young-soon (Lee Young-ran), who reconnect for the...

Busan 2018 Review: ALPHA, THE RIGHT TO KILL Declaws Duterte's War on Drugs

Arriving hot on the heels of Eric Matti’s similarly plotted but decidedly more entertaining BuyBust, Brillante Mendoza’s Alpha, the Right to Kill is a down and dirty frontline take on Filipino President Rodrigo Duterte’s controversial war on drugs. Seen from...

Busan 2018 Review: CITIES OF LAST THINGS, Noirish Tryptich Explores One Man's Broken Soul

Ho Wi Ding’s noir-tinged triptych details three nights in the life of troubled Taiwan police detective Zhang Dong Ling, as his turbulent personal life repeatedly triggers eruptions of murderous violence. Winner of the Platform Prize at this year’s Toronto International...

Busan 2018 Review: THE PREY Plays a Most Dangerous Game in the Cambodian Jungle

An undercover cop must fight for his life when he becomes an unwitting participant in a deadly game of cat and mouse in writer-director Jimmy Henderson's ambitious follow-up to prison riot throw-down Jailbreak, reworking Pichel and Schoedsack’s classic The Most Dangerous Game...

Busan 2018 Review: HOUSE OF HUMMINGBIRD Soars As It Signals Major New Talent

Exploring modern themes and history through the eyes of a young girl, Kim Bora's sensational debut House of Hummingbird is the Korean indie drama par excellence. A subtle exploration of local family and societal pressures crafted in a way that...

Busan 2018 Review: ODE TO THE GOOSE
 Serenades with Strong Performances and Playful Plot

Two years after opening the festival with A Quiet Dream, director Zhang Lu returns to Busan with Ode to the Goose, a terrifically performed and breezy art drama that meanders between allegories of national identity and literary and historical references....

Busan 2018 Review: Shinya Tsukamoto's KILLING, a Blunt yet Effective Samurai Drama

A young masterless samurai faces a crisis of confidence when he is called upon to defend a family of farmers from a marauding gang in Shinya Tsukamoto’s small scale samurai drama. Killing is the actor-writer-director’s first film since 2014’s remake...

Busan 2018 Review: FAHRENHEIT 11/9 is More Hot Air than Hot Take

14 years after his Palme D’Or winning Fahrenheit 9/11, documentarian Michael Moore seizes the opportunity to conveniently flip his title and train his satirical eye on American politics once again. Asking simply “How the fuck did this happen?!” Fahrenheit 11/9...

Busan 2018 Review: OUR BODY Hits the Ground Running and Sails to the Finish

If Korean cinema will be remembered for anything in 2018, it may well be for a batch of films that have found surprising ways to shine a spotlight on the country's youth. Specifically, the enduring image of the year may...

Busan 2018 Review: BEAUTIFUL DAYS Handsomely Frames Somber Subject

As the veil of secrecy over the guarded North Korean regime threatens to give way (if only slightly) in the surprising geopolitical climate we find ourselves in today, the film industry in South Korea has also begun to change how...

Busan 2018: BEAUTIFUL DAYS and MASTER Z: THE LEGACY OF IP MAN to Bookend Packed 23rd BIFF

The Busan International Film Festival held a press conference in Seoul on Tuesday to launch the program for next month's 23rd edition. Local indie drama Beautiful Days will kick off BIFF on October 4 while Master Z: The Ip Man...