JULY AUGUST 2009 Vol.

02

30 54
REPORT REVIEWS
04 Analysis of Korean box office 46 Mother
in the 1st half of 2009 47 Lifting King Kong (working title)
07 KOFIC News 48 Running Turtle
08 A critical look at Korean films 49 Hello, Stranger
in the 1st half of 2009 50 Castaway on the Moon
The Pit and the Pendulum
FESTIVAL
51 Five Senses of Eros
26 PiFan’s NAFF 2009 Overview
Bandhobi
SPOTLIGHT 52 One Step More to the Sea
30 Gianna JUN of Blood Where is Ronny…
32 BAE Doo-na of Air Doll 3xFTM
53 Himalaya, Where the Wind Dwells
BEHIND THE CURTAIN
Thirsty, Thirsty
40 KIM Nan-sook of Jin Jin Pictures
If You Were Me 4
VIEW
Masters of Korean Cinema
42 3+3
54 YU Hyun-mok, a great formalist
HOT MOVIE
FROM THE EDITOR
44 Haeundae
58 In search of cultural union

Correction: KOREAN CINEMA TODAY volume 1, page 5, The Scam's director is LEE Ho-jae.

PUBLISHER SHIM Sang-min, Chairperson of KOFIC EDITOR-IN-CHIEF CHOI Kwang-hee Director LEE Keun-sang EDITOR YANG You-jeong
COPY EDITOR Tae Jo COntributing EDITORS Jean NOH, Darcy PAQUET TRANSLATORS SON Ju-hee, KIM Young-woo, KWON Sang-mi,
JEONG Jae-ha DESIGN & ART DIRECTION JUNG Kyoung-wook, ROH Hyoung-soo PRINT Yedang CONTACT | Tel +82 2 958 7591~9 Fax +82 2
958 7590 E-mail [email protected] Website www.kofic.or.kr/english, 206-46, Cheongnyangni-dong, Dongdaemun-gu, Seoul, Korea 130-010

KOREAN CINEMA TODAY is published bi-monthly by Korean Film Council(KOFIC). All articles represent views of their authors and do not necessarily reflect KOFIC policy
in any given area. ©Korean Film Council 2009, Designed by JR Design
Report 01

box office bouncing back

after a steep decline
Analysis of What Korean Box Office Accomplished in the First Half of 2009

By Lisa HAN of Korean films screened at Cannes Film cybernetic robots. However, Korean film
Reality is much more dramatic. Despite Festival broke the record with a total industry was at least comforted by the
current wave of financial crisis, Korean film of 10 films (including short films), and number of admissions, which has increased
industry has passed through a tumultuous, Thirst won Grand Jury prize. Also, crowd by 23.8% when compared to the same
roller coaster ride during 26 weeks of pleaser My Girlfriend is an Agent was a hit period last year and the box office sales
the first half and produced many news. and critically praised Running Turtle has went up by 25.4%. Market share of Korean
In 2009, Korean film industry started out received some attention at the box office. films also increased from 37.2% last year to
with the unexpected mega box office Korean film industry has undergone all 44.7%.
successes of Scandal Makers and Old these events and faced megaton Hollywood
Partner. Since then, lukewarm “thriller trio” blockbusters including Terminator Salvation Achieving the Biggest Volume
(Marine Boy, The Scam and Handphone) and Transformers: Revenge of the Fallen, in of Box Office Ever
passed through the box office, even the end of the first half. As a result of the in the First Half
though they were highly anticipated since furious battle, Korean film industry could During '07-08, a dull growing curve in
their developmental stage. The number not hold its own against transforming and the cinema business and a period of poor

My Girlfriend is an Agent

04 KOREAN CINEMA TODAY

My Girlfriend is an Agent
Top 10 box office Films
January ~ June 2009
Rank | Title | Date of Release | Distributor | Number of Screens | Admissions
Director SHIN Tae-ra
Cast KIM Ha-neul, KANG Ji-hwan
Terminator Salvation
A romantic comedy in the same vein as
The War of the Roses and Mr. & Mrs. Smith, 1 2009/05/21 Lotte Entertainment 704 4,466,142
which tells a story of a romantic relationship between two secret
agents who disguise themselves as a travel agent and a CPA. This
My Girlfriend is an Agent
movie takes characteristics from several genres (comedy, action,
spy and romance) and became the most successful Korean movie
2 2009/04/22 Lotte Entertainment 475 4,031,831
in the first half of 2009.
Scandal Makers
3 2008/12/03 Lotte Entertainment 405 3,848,803

Old Partner
Transformers: Revenge of the Fallen
Director LEE Chung-ryoul 4 2009/06/24 CJ Entertainment 1,129 3,373,607
Cast CHOI Won-kyun, LEE Sam-soon
An elderly man and his ox are preparing for A Frozen Flower
the final moment of their 30-year relationship
as death is imminent. This documentary strongly appealed to the
5 2008/12/30 Showbox/Mediaplex, Inc. 499 3,291,708
middle age audiences by reminding nostalgia of the rural life and
Old Partner
6
sympathy to the old friendship between an animal and human.
2009/01/15 INDIESTORY Inc. 20 2,929,704

Mother
Mother
7 2009/05/28 CJ Entertainment 648 2,923,324
Director BONG Joon-ho
Cast KIM Hye-ja, WON Bin, Jin-gu
Red Cliff 2
As a new film of BONG Joon-ho, leading
the world of Korean genre film with his
8 2009/01/22 Showbox/Mediaplex, Inc. 426 2,672,665

consecutive mega hits Memories of Murder and The Host, this film
Thirst
9
was invited to the 62nd Cannes Film Festival in Un Certain Regard
section and was well received. It follows a struggle of a mother 2009/04/30 CJ Entertainment 462 2,211,188
who goes to extreme lengths to save her helpless son who is a
prime suspect of a murder case. Breathtaking performance of KIM
Running Turtle
Hye-ja alone is worth the admission.
10 2009/06/11 Showbox/Mediaplex, Inc. 379 2,038,173

Thirst Running Turtle

Director PARK Chan-wook Director LEE Yeon-woo
Cast SONG Kang-ho, KIM Ok-vin Cast KIM Yoon-suk, CHOUNG Kyung-ho
Based on a novel of Emile Zola, 'Thérèse A cold-blood fugitive who shook the entire
Raquin', a priest turns into a vampire after nation, appears in a peaceful countryside
a blood transfusion and begins an affair with his friend's wife as town. Following an inevitable confrontation between a local
secular desires blind him. As a work of PARK Chan-wook, who has detective and the infamous fugitive, this black comedy portrays the
examined the themes of atonement and guilt in his "Vengeance persistent attempts of the slower, lazier cop who must regained his
trilogy" that includes Sympathy for Mr. Vengeance, Old Boy and reputation, pride and honor by capturing the faster, more cunning
Sympathy for Mr. Vengeance, this film won Grand Jury prize at the criminal.
62nd Cannes Film Festival and caught attention at box office.

outcome in the rate of return of Korean still survived. In other words, Korean films 2.9% and the sales by 4.7% due to several
film industry, doubts were widespread have recovered its confidence and proved successful Korean films. The number of
among various film associations. At that that they still have the ability to lead box admission, during the period between
time, most people analyzed that the office if the first half of 2009 was any January and June, totaled 72.17 million
dominance of the marketplace leaned indication. and the sales totaled US $373 million.
towards foreign films as the gross number In comparison to the same period last Comparatively, while the number of
of admissions decreased. But Korean films year, the number of admissions went up admissions is 5 million less than that of the

july·august 2009 05
Report 01

Mother Running Turtle

first half of 2006, the sales exceeded first top spot for more than 2 weeks. Scandal theme, inferior quality, less pre-release
half of 2006 (US $370 million). All in all, it Makers retook top spot on the 3rd week of awareness, and so on. That indicates that
accomplished the biggest box office volume January in its 7th week of release. Ranked the films on the list were against the
in history in the first half. 15th in the first week, Old Partner occupied traditional entertainment values that most
top spot for 2 consecutive weeks during its popular films seek. It also demonstrates
Korean Film, 6th and 7th weeks of release. My Girlfriend that audience tend to seek a wide range
Recovering Confidence is an Agent also retook top spot during its of films and their understanding and
7 Korean films ranked in the top 10 box 3rd week of release. acceptance toward niche films have gotten
office list in the first half of 2009. There deeper and wider. In other words, Korean
were only 2 US films on the list, so it Beyond Miraculous audience changed their view, no matter
clearly seems that Korean films have been Box Office Performance what genre, blockbuster or independent
dominant in marketplace. Out of 26 weeks In case of Korean films on the list, it is film is, to find what they want to see and
in the first half, Korean films have occupied noticeable that there have been some experience. As a result, when they find a
the top spot for 15 weeks in total; US films differences from the past. Films on the list film to their liking, they tend to spread
with 8 weeks; Chinese films 2 weeks; British contained several drawbacks as commercial positive words to their friends.
film 1 week. Also, 6 Korean films stayed at films, such as unusual subject, inexplicable The marketplace of the first half 2009
opened with a fresh, strange view and
ended up with an aged, familiar view.
Trailing after the miraculous successes of
Scandal Makers and Old Partner, artistic
battle between Mother and Thirst was
fought in the frontline, and consecutive
strikes from Hollywood blockbusters arrived
(Transformers: Revenge of the Fallen
and Terminator Salvation), all aiming for
screen dominance. A few multiplexes have
increased the ticket price, insisting that it
is the best solution to improve the business
environment. Last year's marketplace was
gloomy to say the least and while first
half of this year showed some signs of
revitalization, it is perhaps too early to
predict any permanent landscape of the
industry. But it is best to keep an optimistic
Scandal Makers
stance.

06 KOREAN CINEMA TODAY

KOFIC
just because of the new co-production world, gives us our intrinsic competitive
treaty signed last year - much more has advantage. In the current world
to be done. Relationships need to be recession and Korean industry woes,

NEWS built and a certain amount of intercultural

bravery needs to take place. However,
because of the language and cultural
such international co-productions could
provide a much needed life line and be an
abundant source of creative inspiration.
divide we were counselled that clarity
in all aspects of contractual, copyright
and development issues need to be the KOFIC Opens
focus. Along with clarity, intense detail a New Office in China
must also be sought. In other words,
when dealing with different cultures, To provide a base for various projects to

Korea Co-productions assumptions about what the other is be carried out in China, KOFIC is to open

Come One Step Closer thinking, planning or doing could lead to a branch office at Korea Center in Beijing,
significant problems. From the beginning China. Information on entering the local
KOFIC's Korean Academy of Film co-production producers should be market for Korean films and filmmakers,
Arts (KAFA) held its first Korea/NZ co- clear that the aspirations and even the as well as support for local networks will
production workshop. The event held types of films that each other want to be provided here. The office will also
amongst the towering skyscrapers of the make are aligned. Given the differences help with local promotion and marketing
Digital Media City in Sangam-dong hosted between the two industries, producers of Korean films as well as providing
two renowned NZ international producers must be clear about the timeline of consultation for legal, accounting and
– Bridget BOURKE and Robin SCHOLES. production, development and who owns management issues.
Both producers have unique experience what in the relationship. Intrinsic to KOFIC is carrying out a project to set
not just with international, NZ productions this is having a clear ‘out’ clause – who up local offices in overseas including
but in particular with Korean productions. will take what away and how will the America, China, Japan, and Europe, in
Bridget BOURKE has production contract be terminated should the two order to increase industrial capability of
managed a host of NZ productions with producers decide to end their film making Korean film and stabilize its brand power.
international involvement including Peter relationship. As the US branch office opened its
JACKSON's, Robert ZEMECKIS produced By the end, what was pointed out was doors in Korea Center of Wilshire Blvd. in
The Frighteners (1996) and The Lord of that with careful planning, the termination downtown LA in 2007, office in China is
the Rings trilogy (2001 – 2003). She also of such a relationship should never KOFIC's second overseas office.
is one of the few foreign production staff happen. The point of a co-production is Producer YI Chi-yun will take the role of
who have worked in the TV industry in to create a film that could never be made local manager at the office. YI has worked
Korea, in her case for 18 months. 'The in just one of the countries. The fact that as liaison producer for Korea in the film
Great King Sejong', a KBS historical we are able to showcase both cultures, Anarchists (2000) and director FENG
drama about the much loved King used which remain fascinating to the other Xiaogang's Assembly (2007), and has
BOURKE's skills to set up systems side and perhaps audiences around the been KOFIC's resident staff in China since
and implement CG technology during 2007.
production. Robin SCHOLES on the other With the launch of KOFIC's office in
hand has been involved in a Korea/NZ co- China, much progress is expected in
production and also created NZ's first co- regards to co-production between Korea
production with Singapore, The Tattooist and China, the area of most interest, as
(2007). Back in 1994 SCHOLES produced well as helping filmmakers in and out of
the international NZ hit Once Were the country who need information and
Warriors (1994) and has spent nearly 30 attention.
years in the industry.
One of the major points raised during For more information
the workshop was that Korea/NZ co- contact Jiyin PARK heedong21@kofic.
productions are not just going to happen or.kr +82 2 958 7594

july·august 2009 07
Report 02

When the route is blocked

the water diverts
A Critical Look at Korean Films in the 1st Half of 2009

By LEE Sang-yong order to overcome the global recession, and Independent Films
Statistics of Korean films in the first half this feeling of uneasiness is also shivering As a New Discourse
of 2009 is quite interesting. KOFIC's data with the social atmosphere. The documentary film, Old Partner directed
from January to May in 2009 reveal that So it's quite encouraging that Korean by LEE Chung-ryoul, recorded nearly
the audience base has increased by 6.3% independent films contributed to creating 3 million admissions. If you draw a
and sales also increased by 8.4% compared a brand new film culture and increasing conclusion that this is a temporal
to the same period last year. While it is the share of Korean films. It was once exceptional phenomenon, the interpretation
not a significant rise, this is a sign that only a matter of mainstream productions of the situation would be easier. However,
the Korean film industry is back on the which would control the share of Korean this attention to Old Partner should be
rise after a gradual downhill slide in the films. Some insited upon the variety of looked as a whole of current Korean film
past few years. The share of Korean films production systems, but in reality the films, culture, not just confined in the certain
achieved 46.5%. Though the rate couldn't for which conglomerates such as CJ had the views while it changed the configuration
reach over 50% like in the heydays, it central role of investment and distribution, of independent films or the system of
indicates the interest in Korean films used to be in the middle. The fact that mainstream films. Korean films of this
is reviving. Looking inside the industry, independent films had an effect in this first half mean a lot also to the public by
though, production atmosphere is still situation, though small, indicates that the making the term ‘independent film' more
mirky. It is still too withered to invest in system can diversify. mainstream. Following the success of Old

It's quite encouraging that Korean independent films contributed to creating

a brand new film culture and increased the share of Korean films.

Old Partner Breathless

08 KOREAN CINEMA TODAY

 It is hopeful that these new directors will
bring fresh stories that they want to tell to
the public and contribute to the renewed
vigor of independent cinema. However, only
time will tell if this movement could add
more depth to the Korean film industry in
the long term.

Cannes in May, Reflecting

Korean Films at Present
Cannes Film Festival showed that the
position of Korean directors is still firm.
While April was all about the buzz
surrounding independent cinema, May was
Daytime Drinking
about the most celebrated film festival
in the world. PARK Chan-wook's Thirst,
Partner, other independent features like useless and the film itself became more released prior to Cannes, made good use
Daytime Drinking and Breathless also drew industrialized. of the fame it received in Cannes and
attention unlike in the past, headlining a Out of this situation, the attention given even overtook the screens occupied by
new discourse of films. to independent films provides another Breathless in local market. After Cannes,
Just looking at the box office score, hope. Directors find it possible to form a BONG Joon-ho's Mother was released and
121,651 admissions for Breathless wouldn't certain group which can have attention to drew attention, which was invited to Canne
be a big deal. Nevertheless, audience and their unique style, though it might not be in Un Certain Regard sction. These two
media's interest in independent cinema so mainstream, so that this situation can star directors brought out vocal public and
feels bigger than the figure, so at least create a new symbolic capital like former critical opinions regarding their films, and
directors could obtain cultural symbolic art films or their directors did. Whether also many actors who starred in that films
capital. During the era when modern such films could continuously be made or received great amount of attention and
Korean film industry was being formed in not in this recession isn’t certain. But the publicity.
the mid '90s, the films either received a independent cinema movement during the This year's Cannes Film Festival triggered
level of status by becoming a hit within first half of this year brought recognition to the interest in globalization or position of
the industry and among mainstream a brand new group of young independent Korean films again, which has long been
public, or retain certain merits as an artist directors and they played a bigger role in debated since 2000s. 10 films (including
by becoming a critical success even if the media and limelight than ever before. short films) were part of Cannes lineup.
it did not receive well at the box office.
HONG Sangsoo was the first director who
continued to churn out films with high
level of praise while being shunned by
general public during this period.
However, with a recession in full gear
after mid 2000s, it became impossible
to continue making films only with the
support of critical praises. In case of HONG
Sangsoo's 2009 film Like You Know It All,
it was made with an estimated budget
of approximately US $80,000. Instead
of relying on established production
companies like he did in the past, he made
this film with his own production company.
That was a natural consequence of what
Korean film was supposed to choose when
Thirst
the weight of positive criticisms became

july·august 2009 09
Report 02

Mother Like You Know It All

What's more, Korean films seemed to show situation after discovering the truth. PARK Chan-wook and BONG Joon-ho
the various layers and positions through Thirst's priest received a blood transfusion are kind of indicators by which people can
the films like Thirst, Like You Know It All, that contained vampire's blood and suffers anticipate the flow of Korean films, as well
Mother and French co-production A Brand from the ‘guilty hedonism’. HONG Sangsoo's as acknowledged international figures.
New Life by Ounie LECOMTE. latest ends, as is HONG's style, with a choice Domestically their films were not big hits.
Of course there is a common ‘flow'. A at the crossads. But this time it bears a But they proved their ability by surpassing
Brand New Life is a somewhat dark story lesson: never say anything to others as if break-even point. In case of Mother, BONG
set in the 1970s at an orphanage that you knew it all. was criticized for not being able to match
portrays the adoption process abroad. A Cannes is an international festival but it the success of his previous film The Host,
closed-up expression of a girl and her futile is also a festival with the most influence in which is the record holder for the highest
rebellion against adults at the orphanage Korean market than any other film festivals. box office gross. But this exceptional case
create tight-rope tension and emotional Winning Jury Prize of Thirst showed the is quintessential uniqueness in Korean
suffering to the viewers that lasts just gap between the perception in Korea and films. Among the list of directors with No.1
under 2 hours. Such emotional agony that the outside world, and also made people films, only a handful would release their
protagonist go through is what might be look back upon directors’ positions. If now new films at Cannes, which is famous for
described as the main flow of Korean film. is the time for getting rid of the stagnation only accepting art films. BONG's case puts
The mother from Mother, who struggles of Korean films, Cannes could made it importance to both mainstream audience
to save his son, came to encounter worse possible by showing interest in them. and critics. This phenomenon reminds

The success of My Girlfriend is an Agent also made it clear that mixing of genres
with comedy could appeal to the audience, regardless of its artistic merits.

My Girlfriend is an Agent Castaway on the Moon

10 KOREAN CINEMA TODAY

 Expand
the Market!
Expand
the Views!
Since the dawn of 21st Century, international co-production has become a major theme not
only in Korea but also across the film industries in Asia. While overcoming various obstacles,
filmmakers have been realizing the dream of international co-production from different
angles, as a way of market expansion and gateway to cultural exchange. This essay will
check their outcome and task, and review a few of the recent cases by interviewing related
filmmakers. In addition, Korea’s policy infrastructure regarding international co-production
will be introduced.
illustration by Bob CHANG

12 KOREAN CINEMA TODAY

By SHIN Ki-ju to Hengdian Studio herself to dress JUNG
Director KIM Sung-su and representative Woo-sung and KIM Tae-hee. The backdrop
JO Min-whan of Nabi Pictures were visiting of The Restless is set in heaven, and the
China frequently when MUSA: The Warrior costume is a mixture of Japan’s kimono,
began production in 2000. Shooting MUSA: Korea’s hanbok and Chinese traditional
The Warrior in the middle of China’s desert, clothes. Reinterpreting traditional costumes
the two worked hand-in-hand with ZHANG of Asia into something beyond nationality
Xia, vice-president of Beijing Film Studio. was a characteristic of Emi WADA.
They gathered together once again at Such juxtaposition was also the ways of
Hengdian Studio in March 2006, Hangzhou, The Restless. The film was shot with the
China. This time it was for The Restless. investments from China and Korea, filmed
Director seat was given to CHO Dong-oh, in China with Korean cast. A good portion
who was the assistant director for MUSA: of the staff was Chinese and Japanese,
The Warrior. Director KIM, representative along with countless local extras. Cutting
JO, and ZHANG were given the roles of edge computer graphics were handled by
commander-in-chief, general of supply 16 Korean CG companies including Mofac.
department, and cover fire in The Restless. Overseeing the entire production was in the
They were professional warriors who would hands of Korean staff.
cross the dry desert together. Director CHO wanted The Restless to be
There was another guest of honor. like a role playing action game. Because the
Emi WADA, who was in charge story was set in the other world, nationality
of the wardrobe in Akira or era had no meaning at all, which meant
KUROSAWA’s Ran, came that the film would appeal to Korean
audiences who prefer stories grounded in
reality, Japanese audiences who wanted
surrealism, and also catered to Chinese
audiences who were accustomed to martial
arts blockbusters. The film was targeting not
only Koreans but the entire Asians.

Challenge towards
Pan-Asia Project
The Restless symbolized challenge of
Korean film and its desperate need at the
same time. In fact, situation was the same
from the days of MUSA: The Warrior. KIM
Sung-su and JO Min-whan made a film
by traveling all the way across the Chinese
continent because they wanted to capture a
larger space with the camera, free from the
restricted imagination of Korea. It wasn’t
possible any more for Korean films to grow
if it remained inside Korea, with a traditional
Korean story, talking about subjects only
Korean viewers can understand. Only bigger
imagination would entice viewers back to
the theaters.
On the other hand, it had been awhile
since CJ Entertainment, the investor of
MUSA: The Warrior and The Restless,
dreamt of becoming a major player in Asia.

july·august 2009 13
international co-production

It had secured DreamWorks’ distribution make films. Daisy, directed by Andrew LAU Koreans which used
rights in Asia, and had made many efforts starring JUNG Woo-sung, LEE Sung-jae and China mostly for human
to penetrate into Hong Kong and Japanese Gianna JUN, was a typical collaboration film and location resources,
markets. In China, CJ-CGV has launched between Korea and China, with a Hanryu Japan too used Korea as
multiplex exhibition business. As it was star JUN at its core. As they are familiar supplementary location.
dissatisfied of being number one just in with co-production among Asian countries,
Korea, CJ needed a Pan-Asia project like Hong Kong filmmakers have always been Expansion of Human
The Restless in order to target the entire interested in Korean film scenes. Resources Exchange
Asian market. To do so, the plot had to be On the other hand, for the Japanese Nevertheless, as Korean films and
something that Asian viewers would accept filmmakers Korea was more of a location Korean culture spread out to rest
without feeling culturally alienated. provider rather than a co-production of Asia, requests for co-production
Around 2006 when the production of partner. Hero, a hit TV series adapted into coming from outside the country
The Restless was under way, Korean film a movie, which starred Japan’s biggest star became more frequent. In the case of Sidus
industry was on the rise. A record number KIMURA Takuya, who goes through the FNH, as it became known as a film company
of films were being made. Time was trouble to come all the way to Busan in representing Korea, there had been regular
ripe to attempt a Pan-Asian blockbuster, order to catch the villain. LEE Byung-hun demands from foreign film companies for
beyond the Korean-style films of the past. also makes a surprise cameo in the film. co-production. Most of all, it became the de
To do so, co-production was one of the Just like co-production projects led by the facto place to go when filming something
shortcuts available. It was difficult for a in Korea. In other words it functioned as
Korean director and producer to understand a local location liaison. Likewise, when
sentiments of China or Hong Kong. Rather it Korean films or TV dramas were being filmed
was wiser for them to work with producers overseas, companies there functioned as
from Hong Kong and film staff from China, local offices. In Hong Kong, Peter CHAN's
and have a Japanese director shoot the film. Applause Pictures did the work Sidus FNH
Film co-production between countries does did for them in Korea. Whenever director
not simply mean putting names of key staff CHAN visited Korea, he is surrounded by
MUSA: The Warrior
on the credit roll. It must be a fruit borne his Korean filmmaker peers. As layers of
from the encounter of markets. experience with co-production pile up and
such exchange of friendship continues,
Start off from Celebrity it did not seem too difficult to shoot
Exchanges films overseas with foreign staff, funding
International co-production that became permitting. Communication worked, and
lively since the new millennium started from sentiments worked.
exchange of talents. Asako in Ruby Shoes However, possibility remained as
The Restless
directed by E. J-yong starred Japan’s young possibility. The Restless first premiered
star TACHIBANA Masato, and LEE Jung- in Korea on December 20, 2006, but the
jae. In MUSA: The Warrior, ZHANG Ziyi result was mediocre at best. A total of
the star of Crouching Tiger, Hidden Dragon approximately US $10 million was invested
made her appearance. ZHANG had already (a blockbuster scale in local market) but
become a familiar face in Hollywood at that scored measly 1.5 million. The film did not
time. Therefore MUSA: The Warrior was fare any better in overseas markets either.
equipped with factors of success in overseas Moreover, the film suffered from brutal
Asako in Ruby Shoes
and not only in Korea. criticisms. The story does not end with just
When Stephen CHOW visited Korea to The Restless and MUSA: The Warrior.
promote Kung Fu Hustle, he chose Gianna From the early works of co-production like
JUN as the Korean actress he most wanted Asako in Ruby Shoes to the most recent
to work with. JUN has already become collaboration case of Boat, starring HA
an influential Hanryu star after the huge Jung-woo and TSUMABUKI Satoshi, success
success of My Sassy Girl in Hong Kong. was very rare and far between.
In fact, Hong Kong film industry was very BONG Joon-ho shot Tokyo! with
Daisy
much interested in inviting JUN over to Japanese staff and only attracted 40,000

14 KOREAN CINEMA TODAY

viewers in Korea. My Sassy Girl’s director Costly Lesson, However
KWAK Jae-yong filmed Cyborg She It took 50 years for Hollywood to control
gathered 20,000, and Oishii Man, starring the world with film. Going through Second
LEE Min-ki and Chizuru IKEWAKI gathered World War and the Cold War, America’s
around 10,000. If the film was managed popular culture rooted deeply in Europe
by Korea, then the result in Korean market and Asia, and then Hollywood films came
influenced its performance in foreign to be accepted commonly by everyone.
Oishii Man
markets. Moreover, once out in the overseas But even so, unless it is a typical summer
market, domestic popularity became a blockbuster like Spider-man, local markets
major factor in price formation. A film that often turn away from Hollywood films.
bombed in Korea wasn’t sold at a premium Korea is a major example. As Korea’s popular
price outside the home territory. In other culture flourished, Korean viewers became
words, success is more than important to indifferent to foreign movies that are distant
co-production films as well. In fact, most from Korean sentiments. In Korea, the
of the co-production films that failed in market share of non-US foreign films remain
Boat
Korea did not do well in partner countries. at a single digit. It is a distinctive feature
If the examples of The Host and Swiri are of a market with strong local popular
any indication, local box office success culture like Hollywood. In the end, this
accounted more than the co-production means co-producing a film according to the
status when it came to the price of the films ‘formula’ does not always lead to expansion
sold in overseas market. of foreign market.
Nevertheless, future potential of
Two Sides international co-production is still valid.
of Transnationality Tokyo!
Human network like that of director KIM
Transnationality could mean catching two Sung-su and ZHANG Xia does not form
birds with one stone, but at the same time it B-class movie in Asian market. overnight. If Korean film industry intends
can also mean losing double. That is because Movies can’t be calculated with to jump into managing the Asian market
the film doesn’t focus 100% on viewers of formulas like in finance or engineering. If in the end, local co-production can’t be
any particular country. Boat’s HA Jung-woo co-production films are planned according avoided. Yet co-production is a mixture
is familiar to Korean audiences, but new to a success formula, they can’t succeed of not money, not space, but the people.
to the Japanese. On the contrary, Satoshi every time. It takes much more effort Trial and error is unavoidable, but lessons
TSUMABUKI is an unknown name to the and investment to make a co-production will be learned. Until now, Korean films
Koreans. With this one film, these actors film compared to filming it in just one have paid expensive co-production lesson
may become stars in their native countries, country. Simply taking care of language fees. The problem is that it will be a while
or the opposite may happen, which could and transportation problem takes up before that fee could be recouped, and
mean trap for them. Co-production films several fold of time. And it is inevitable it is possible that the market would give
are the answer to a successful performance that other unforeseen variables would up trying before that day comes. At the
according to the calculation. It is natural pop up besides the main story of the film. moment, Hollywood is targeting Asian
to assume that with star actors from each Battle of Wits was a classic Korea-China- market, making films starring Korean stars
country starring in an action blockbuster Japan co-production movie where staff like LEE Byung-hun and JANG Dong-
would rake in a mountain of profit to members from all three countries worked kun. Co-production is already a path that
the investors. On the contrary. This is the harmoniously together. The film took is not an option anymore in this fierce
same mistake Hollywood went through 30 place during China’s Warring States completion of films around the world.
years ago. When Jackie CHAN debuted in Period, starring Andy LAU and AHN Even after the rough experience they
Hollywood with The Cannonball Run, the Sung-ki, and shot in China. Yet this film had with MUSA: The Warrior, director
reason he could be part of the film even too failed in both Korean and Chinese KIM and producer JO returned to China
though he wasn’t recognizable in America markets, due to the story that was alien to because they could not easily give up on the
at the time, was because the producers Koreans but too familiar to the Chinese, values they have accumulated until now. The
expected more success from Asia by putting and not relevant for the Japanese. The film route of international co-production has just
in a popular actor from there. But The also wasn’t spectacular enough to knock on completed its first stage. It is too early to say
Cannonball Run was dealt as an irrelevant Hollywood’s door. what lies at the end of it.

july·august 2009 15
international co-production

Investment and
Production Environment
of Korean Films
Proposal for the Foreign Independent Producers

By Ellen KIM (Producer, Flying Tiger Pictures) experience. common and to access investment source,
Around turn of the century, Korean film I would like to use this opportunity it is better to have a Korean partner since
industry was challenging and experimenting to provide few words on investment only Korean productions can apply for
with various methods of globalization. and production environment of Korean financial aid, as the competition is getting
According to Korean Film Council (KOFIC), films and offer some helpful tips for fiercer lately.
which has been making constant updates overseas producers who are looking for Overall, production environment of
on status of international co-productions, co-production. Rather than successful Korean films is better than ever at the
just the number of films listed as subject of producers who already have excellent moment. While there had been efforts to
survey counted more than 70. partners, these tips will be more useful cut down costs and the average production
I myself recently researched the cases of to independent producers who want cost has decreased immensely, the quality
co-production and had the chance to review co-production with Korea throughout the of production has remained the same,
the list. Since failure is also a meaningful entire process, from development to post- thanks to advanced digitalization and well-
experience, there were many films that production. trained technical staff.
obtained ‘lessons through co-production’, Regarding overview on Korean film Location shooting in Korea is carried out
but those that managed to achieve industry and investment environment, without much trouble most of the time.
commercial and artistic success through please refer to ‘Guide to Korean Film Film commissions in each region including
co-production were found only among Industry and Production’. It is available for Seoul have been more cooperative than
recent few projects. download at KOFIC’s English website (www. any other place in the world. In places
I had first-hand experience of co-pro- kofic.or.kr/english). To update on current like Seoul, Gyeonggi-do and Incheon,
duction with China and France back in 2002 status in Korea, there had been news from ‘Production Support’ system is being
when such format of production wasn’t as last year of vitalizing bank loans through implemented based on locally spent
common. The film Cry Woman was screened establishing funds for co-production and expenditure. In case of Seoul, 25% of the
at Cannes’ Un Certain Regard section, and completion guarantee system, but there amount spent in Seoul is supported up
premiered in Japan the following year hasn’t been any concrete result yet. It needs to US $80,000. Sometimes screenwriters,
and in France with slight delay in 2008. to be carefully observed and waited out. directors and producers are also invited to
To elaborate on what was learned from Excluding pre-sale, methods of financing support development and location scouting.
making films together, I realized that it is films in Korea include equity investment As for post-production, Korean firms
not easy to co-produce with China and of the investors, production financing and studios provide extremely high-end
as it turns out, the experience brought distribution deal with major distributors, quality and competitive pricing. Korea’s
me more opportunities to be involved in in-house productions (major firms have CGI standard levels with that of Hollywood
co-production projects and research or tried this during the last couple of years and actually many VFX artists here have
lectures regarding the subject. This report but the result was insignificant), or soft experience of working in Hollywood. Such
is another result stemming from the money. Financing through bank loans is not is the case for DI (Digital Intermediate),

16 KOREAN CINEMA TODAY

as its quality is very high but the price are also competitive here. Most recently, lack a system that nurtures professional line
remains inexpensive because many cutting Korea’s SFX, special make-up and sound producers and specialized assistant directors.
edge equipment were brought in and firms participated in China’s Assembly and For instance, there are only a few expert
installed during the height of Korean films Red Cliff. line producers who can also speak English
but most of them are being under utilized Regarding the production of Korean films, fluently, so it is not uncommon that they
at the moment due to recent recession in the biggest obstacle to globalization would are in high demand. KOFIC and regional film
Korean film market. It is a pity that support be the language barrier. Not that there aren't councils are reorganizing Korean human
system on local expenditure related to those who studied films abroad or have resource database for foreign producers, so
post-production is yet to be established, communication skills but the fact that there if there is a need to find staff, it is worth
nevertheless I believe the price still has its are limited English-speaking crew during contacting respective authorities.
merits over other foreign countries where film production process, where endless Another organization that supports
approximately 15% support is available. communication is needed, is one fatal international co-production is ‘Producers
Special effects (SFX) and martial arts shortcoming. Another problem is the Guild of Korea’ (PGK), which I am a member
of. Occasionally some foreign producers
who are filming in Korea upload recruitment
announcements on online English bulletin
boards but in such case only
those with competent English
skills without any knowledge on
production will be able to view, so
it is better to use film-related organizations.
KOFIC has published ‘Guide to Korean
Film Industry and Production’ in 2008
for foreign filmmakers who wish to setup
production in Korea and it will
keep updating the material
in the near future, and its
Japanese counterpart ‘Guide
to Japanese Film Industry and
Production’ has also been published.
Taking full advantage of such publications,
PGK is also making preparations for a
seminar titled ‘Co-production Actually’,
to be held during upcoming Pusan
International Film Festival, that will compare
the actual production systems of Korea
and Japan in full detail. Another event is
being prepped to review recent trends in
co-production financing, and introduce
funding for co-production and completion
guarantee system.
In a few days, I will head for Europe
to participate in Korea-France Business
Campus co-presented by Paris Project. Since
the signing of Co-Production Treaty with
France in 2007, A Brand New Life was
illustration by Bob CHANG

the first completed film to benefit from

the treaty. It is encouraging to hear such
news and I am certain that such efforts will
vitalize the field of art film production in
Korea and France.

july·august 2009 17
international co-production

Working with New Zealand

By LEE Nam-jin (CEO, Film Alchemy) we witnessed the vicissitudes and collapse NZ), the new continent in cinematography,
For the last three years, Film Alchemy of non-Hollywood movies when we made was there. The curiosity surrounding Peter
has been working on a horror film Soul documentaries like World Cinema Tour and JACKSON and The Lord of the Rings team
Mates with New Zealand and Big Wave, a Asian Cinema Tour. led us to NZ. While participating on the
fantasy horror flick, and Brain Detective, documentary and studying NZ cinema, we
a detective TV mini-series with the US, all Why New Zealand? became convinced that NZ may be the most
in English. Meanwhile, I guess the most The next frequent question that we get is suitable partner for our future English-
frequent question that we have been asked “why New Zealand instead of Hollywood?” language film projects. The know-how and
was “Why in English?” In particular, at the I always answer, half jokingly, that it was infrastructure that allowed shooting of The
end of 2006 when we set out our fate. Some gave perplexed looks to my Lord of the Rings trilogy and workflow of
on Soul Mates, our work must answer but, I figure, this is the most honest the PDV (post-production, digital and visual
have looked quite unusual. reply I can give. effects) gave rise to Weta Digital and Park
Whenever I was asked that In 2004, when Film Alchemy was Road Post Production, the best companies in
question, I answered, “Because I want to developing horror projects, we were the field and we found here the two giants;
make a movie that everyone in the world can proposed to participate in a documentary Peter JACKSON, an eccentric genius director
appreciate without any language barrier”. project called Asian Cinema Tour. We gave and Weta co-founder Richard TAYLOR, who
Also, we came to seriously think a lot it some serious thoughts and decided to brought JACKSON’s dreams come alive on
about the future of the film industry after go for it. Why? New Zealand (hereinafter the screen.

18 KOREAN CINEMA TODAY

 new opportunities. They, however, cannot tographic ideas will
make films with private capital, as they own allow us to reach more
a small local market. In other words, they do audience.”
not have film funds or film venture capitals
supporting them with production costs, a Effective
fact that those who want to co-produce Co-production?
with NZ should be well aware of. People Are the Key!
In the earlier stages of
NZ’s Aggressive Film Policies co-producing Soul Mates, we had
and Korea-NZ Co-production a whole new experience. As Korean
Treaty producer, the biggest challenge was
In order to compensate these weaknesses, making ourselves understood, convincing
there are quite active government policies our stories and turning it into a produceable
on cinema. New Zealand Film Commission screenplay. Producers in English-speaking
operates four major film funds: world tend to think they know far better
1) a fund that supports production costs, than non English-speaking producers as long
2) SPIF grant, which reimburses 40% of as English contents are concerned. This was
the amount spent in NZ, thus providing not always true and some fierce discussions
some on-location recoup, 3) Large Budget were inevitable. In this process, my weapon
Screen Production Grant System, which was my belief in the future of genre films.
reimburses 15% of the expenditures for That has not changed: genre is genre and
films with over NZ $15 million (approx US story is story. Everyone recognizes a good
$9.8 million), and 4) PDV incentive system, story, but it takes time. This experience has
where qualifying PDV expenditure reaching helped us work with Jim HOLT, producer of
a threshold of NZ $3 million receives a grant Michael Clayton, and with our partners for
of 15%. Big Wave.
In fact, Warrior’s Way, a Korean film I would like to quote what we said while
which was shot 100% in Auckland and did making World Cinema Tour—Taiwan: How
its PDV work at Park Road Post Production, could Taiwan, with such a small population
was able to save its production cost thanks and weak basis of film industry, produce
to Large Budget Screen Production Grant brilliant directors such as Hsia-Hsien HOU,
System. Soul Mates, co-produced by Film Edward YANG, Ming-liang TSAI, and Ang
The Lord of the Rings
Alchemy and NZ’s Eyeworks Touchdown, will LEE leading the Asian cinema? The only
From a vintage point of film industry, be partly funded through SPIF. answer we found was this: they have people.
NZ is not without its weaknesses. First, NZ NZ’s supportive film-fostering policies This also holds true with NZ. Its attractive
is a small market with a population of just are now further strengthened by a policies and solid basis of film industry lead
over 4 million people. This means that only Coproduction Treaty signed by the two filmmakers to NZ; however, what makes you
about 10% of the cost can be recuperated nations. Robin SCHOLES, co-producer of really love NZ is the people. For instance,
with films of average production cost of Soul Mates, who visited Korea to discuss Richard TAYLOR and Weta Workshop's
US $3~4 million in its national market. NZ government’s support measures and friendship shown to us by deciding to
Even including Australia (considered as cooperation methods with Korea after the willingly participate in our low-budget
part of the same commercial area), it does treaty had been signed, said in his interview $4 million film is our most precious asset.
not make much difference: only about with ‘Cine 21’, “Getting some funding from Producers from Hollywood ask me, “How did
30% of the total production cost may be overseas for production budget is now you convince Richard to participate in such a
recovered from this market. This logically an international trend… NZ has its own low-budget film? You can’t even think about
led us to the following conclusion: NZ films’ advantages of location, such as providing it in Hollywood!” I sincerely admire Weta's
can survive only by targeting the overseas various nature environments and climates, company spirit to help smaller producers,
English-speaking market or exporting to as well as distinctive competitiveness which may not be the most sound financial
the entire world. New Zealanders, therefore, deriving from our experience working decision, and I am forever grateful for
aggressively approach international with Hollywood studios. Our infrastructure Richard’s friendship. I believe that “people’s
co-production and make every effort to find combined with Korea’s unique cinema- power” is what makes miracles happen.

july·august 2009 19
international co-production

“We worked together

to learn from each other”
Interview with director KWAK Jae-yong of Cyborg She

Photo by KIM Seon-tae

By CHOI Kwang-hee across the border and co-production among country and work with actors from there?
Fantasy melodrama Cyborg She, directed Asian countries that have become vibrant It’s like moving your house. You get used to
by KWAK Jae-yong, is a special case of lately. it after a day or two. Work is so busy that I
collaboration between Japanese actors, crew have no time or space to think about other
and Korean director. The story of a young The film premiered in Japan last summer things. I went and when I returned, a movie
man falling in love with a female cyborg and the box office result seems to be quite was finished, and it was time to show it in
from the future is similar to a story that was good. theaters.
mentioned by the characters in KWAK’s 2001 The result we got was close to a miracle, if It must have been quite a gamble for the
hit film My Sassy Girl, but this time the you consider the fact that it was an original Japanese producers to have a Korean
film embraces strange mixture of Korea and screenplay. DVD sales was ranked number director make the film there.
Japan’s cultural sentiments. For example, one in 2008. Publicity and marketing budget Our producer YAMAMOTO Mataichiro had
popular Korean songs run in the background is expensive in Japan but its supplement worked with Francis Ford COPPOLA before,
while showing Japanese country scenery. market is sound so the entire project and PR and has produced a film called Mishima ,
Cyborg She is of much importance that was planned with ancillary market in mind directed by Paul SCHRADER, starring
can’t be overlooked in a sense that it has from the very beginning. Japanese actors. As a Japanese producer,
suggested a new model of cultural exchange Wasn’t it awkward to go to another he is somewhat exceptional. He really liked

20 KOREAN CINEMA TODAY

my film Classic. There was an emotional Korea to think Japanese actresses are weak. made from Korea?
chime there. At the time, Hanryu or the Some directors feel uncomfortable with Recording music and dubbing Korean
Korean culture wave had hit Japan and overly standardized production system of version were done here. Not too much but
the atmosphere was great as my film My Japan. partial things were done in Korea.
Sassy Girl was performing well there. The Director MIIYAKA Takashi had asked me Then strictly speaking, isn’t it difficult to
groundwork for Cyborg She began in 2003 “Why did you come to Japan?”, saying “it call it a collaboration?
and it took some time to complete, but that will be difficult to be a director here”. Partial investment was made from
was because I had to wrap a film in Korea Yet since it is such a big movie with the Korean side. Realistically it is
and then go over to Japan. an investment of 800 million Yen very difficult to have a complete
Was there any trouble communicating (approx. US $8.3 million), everyone collaboration throughout the entire
with the actors or crew in the course of followed my lead well. We respected production process. Take sound
shooting? each other’s ways. In Japanese system, production for example: if you have it
Actually, communication was not much of there are many meetings and if you want to done in Korea, you have to send the data
a problem. It was more important to deliver change something later on, another meeting back and forth, which is risky in a way and
emotions and not just words. I gave the is required. In my case, I did many of the everything costs money. And we can’t bring
actors a Korean reference song and made things in Korean style. Korean staff over to Japan to work together
them listen to it so that they can become Were the actors casted through auditions? due to high cost of lodging and everything.
more familiar with Korean sentiments, and I It was essential to cast actors who aren't From the beginning you must have
tried to dine with them often. I taught them famous in Korea. At first we had AOI Yu in thought much about the common cultural
Korean, and vice versa. The actors catch mind for the lead. We even met and she code that can appeal to not only the
the meaning quickly if you show them in really liked the project. But back then she Japanese but also to Koreans and Chinese.
person. On the other hand there were merits was still a low-budget, indie film actress It is a very difficult question. It can’t be
of being a Korean director. Because they had and some thought she would not be a good solved by just thinking. The film’s language
this competitive understanding that they fit for such a large scale project. So other is in Japanese so it is not easy to have
can’t underperform to a Korean director, actresses were recommended, even singers the film shown in China. We had to think
the crew took much effort to achieve like KATO Koyuki and HAMAZAKI Ayumi. I about how the Chinese will react to the
everything I had asked them to do. Director knew AYASE Haruka from TV drama ‘Crying Japanese language and all. In the future,
of photography was great as well. We Out Love, in the Center of the World’, and I am thinking of collaborating with China
became quite close and when the shoot was with a short haircut and make-up, there also and record it in Chinese natively. This
over, we hugged each together in tears. The were cyborg-like feelings to her. We had her time, our foresight didn’t go so far and
main actress AYASE Haruka injured her nose come over to Korea and do a test reading we only thought of Japan and Korea. The
during the shoot and was crying her eyes and she was really amazing. I realized two countries also have more common
out but still claimed it didn’t hurt. Later, she Japanese actors aren’t just about their looks. sentiments than any other countries as well.
confessed that she didn’t want director from What contributions to the production were If the chance arises, will you work in Japan

Cyborg She
again?
If this film performs well, perhaps the
chance will come more easily. But if it does
not do well in Korea it won’t be so easy.
AYASE Haruka wishes to make another film
together too. I hope it will be something
that will be a big hit in Japan. However, it is
impossible in Japan to make a commercial
film this size with an original screenplay, and
not an adaptation.
How about challenging yourself to do a
Chinese film next time?
Awhile ago I was asked to remake Two
Faces of My Girlfriend in China, but since
the film was directed by another Korean
director I only agreed to take part in
production and work on the screenplay.

july·august 2009 21
international co-production

“Success Possible
for Korea-Japan
CO-Production”
Interview with Producer Juno LEE of Boat

deter me. As I studied more later on,

I was so surprised at the bad earning
rate of the industry and then I almost
gave up. At that time, I happened to meet
a friend working with director SHUNJI Iwai
in Japan and learned the status of Japanese
film industry. Realizing that Japanese film
industry was much more stable, I thought
working with Japan was a potentially
successful strategy. Since then, I have been
meeting Japanese filmmakers and key
industry people for a year now.
Unlike other co-production films which put
stars in front of everything else, Boat was
unique in a way because it began with Aya
WATANABE, the screenwriter of Josee, the
Tiger and the Fish, as its starting point.
When I watched Josee, the Tiger and
Photo by KIM Seon-tae

the Fish I thought working with this

screenwriter would be a great opportunity.
I also thought that having the writer
would lead me to build a relationship
with Japanese film industry to start a
project. Fortunately, WATANABE sought
By SONG Soon-jin up projects such as HIGANJIMA: Demon’s an opportunity to work in the Korean film
Recently, joint productions between Korea Island. industry at that time and liked the spirit
and Japan have seldom caught audience's of challenge we presented. We signed the
attention. Although minor cooperations Including the company’s first film, all line- contract on February 2006 and the process
- exchanging of actors, directors and ups are co-productions. Was this the surprisingly took only about 1-2 months.
crew, co-investment, providing locations company’s intention or goal from the very By the way, unlike WATANABE’s previous
- have been repeatedly applied in the beginning? scripts, such as Josee, the Tiger and the
co-production, the box office results have We originally started the company with Fish and La Maison de Himiko, this one
not been very good at all. However, Juno the intention of making music videos and came out as a male buddy movie. Did you
LEE, representative of Kraze Pictures, commercial films. While seeking other areas discuss about the topic or genre together
presenting its first film Boat, still tries to expand into, we thought of cinema as a from the beginning?
to find a way out for Korea-Japan priority because it shares the same ground We originally intended to make a melodrama
joint projects. As a newly established with other visual mediums. In 2006, when like Josee, the Tiger and the Fish. During
production company focusing on Korean film industry was at its peak, I was our meeting, we watched Love Actually
co-production, Kraze Pictures has already ready to jump into the film business, but together and used it as a point of reference.
laid the foundations for several follow- most of my friends in the industry tried to She sent us the first draft 2-3 weeks after

22 KOREAN CINEMA TODAY

coming back to Japan. The subject of the Satoshi TSUMABUKI. But making Korean ‘this should be his work, why isn’t he doing
email was “I am so sorry,” (Laughs) saying characters feel real was an important anything?’ or ‘this is my work, why is he
that she could not write another melodrama element for us too. Balancing the differences getting involved?’ A manual is definitely
and wanted to tell a story of two young between the two was not easy at all. needed to moderate the differences.
men, and the result was the first draft of Most of co-production films, so far, have However, the job condition in Japan is
Boat. Even though the genre was not what been melodrama, such as Dream and much more reasonable than that of Korea.
we intended, the script was good and I Virgin Snow. However, Boat is a buddy Despite high average labor budget of crew,
thought, ‘why not’, if the writer wanted movie, and the next film Higanjima is a they are being paid by the hour, so I think
that way. But that first draft was soaked take on the horror genre. the Japanese way is more beneficial to the
with Japanese imprint, we had to undergo a We thought a different approach was production and individual in the end. In
long period of revision. We revised a couple required for Boat because it was being addition, there was another huge difference
of times and during this time WATANABE developed while Virgin Snow was in in the process of preparation and moving
introduced us to a Japanese production production and HIGANJIMA was also in of crew on location. Although it has been
company, IMJ Entertainment, and we the same situation, as Cyborg She was affected by the atmosphere of the industry,
continued the work with them involved. in production while HIGANJIMA was I thought that it should have an industrial
Later, KIM Young-nam, the director of Don’t in development. But HIGANJIMA is a frame for Korean crew to work on foreign
Look Back, joined and the script was revised thoroughly Japanese movie, although films. That is not what our staff members
once again. Overall, we spent about 2 and a directed by KIM Tae-gyun (Crossing). can do by themselves.
half years developing the script. Making an action or horror genre film is Is the average earning rate in the Japanese
For Korea-Japan co-productions, not only relatively easier than other genres because it market still stable?
the difference in language, but also the mostly follows kinetic narrative, rather than Simply, the average ticket price is 2.5 times
emotional distance between two countries emotional narrative. So, it is quite different higher than that of Korea. And we can
often come up as an obstacle. Was this the than Boat. Co-production should not be possibly gain 30% out of DVD market profit
case for Boat? determined only by mixing of languages and and 10% from TV broadcast rights. This
I felt cultural differences during the people. calculation can be slightly different, but
period of script revision. While Japanese You worked on Boat and HIGANJIMA the final outcome will be mostly expectable
people prefer that a story and tension as producer. People often talk about the and reasonable. With this calculation, the
build up gradually, Koreans prefer sudden differences of the systems between two earning rate of Boat will be high enough.
fluctuations. There were some conflicts, but countries. What kind of differences did you Making 10% profit of the production budget
because this project was initially targeted for encounter personally? in the Korean market would be satisfactory
the Japanese market, we tried to absorb the The job descriptions on the field were quite for us. While people often say none of the
opinions of the Japanese partner and the different. For instance, the exact role of co-production films between Korea and
writer as much as possible in the screenplay the first assistant director was different in Japan has ever been successful, I think that
in order to build Japanese characters like both countries. Sometimes you wonder, a co-production project is a more sound
Boat
strategy in terms of business.
To put it another way, why do you think
Korean audience never really caught on
with any of the Korea-Japan co-production
films?
Well, the view of filmmakers and the opinion
of audience seem to be different. I think
that is a matter of choice to a filmmaker
by depending on what kind of film
it is. There will be a movie aimed at
both markets. The fact that it was
never been successful does not imply that
it is impossible. My Sassy Girl was a hit in
China and Taiwan. If it was a co-production,
it would have be successful regardless. After
all, that is an important assignment for the
filmmaker.

july·august 2009 23
international co-production

Meet, Talk,
and Collaborate!
Introducing KOFIC’s Major Programs Promoting International Co-Production:
Business Campuses and Film Development Lab

2007 Filmmakers Development Lab Project Pitch

By Denise HWANG hand in planning and development. Korea-China Business Campus (scheduled
Korean Film Council (KOFIC) has two In addition, Business Campus projects for September 2009) will be held in July:
major categories of businesses in terms of help co-production projects get off the Korea-France Co-production Business
fomenting international co-production: ground. This program links up co-production Campus from July 5th to 8th, and Korea-
supporting relevant projects and project owners (directors and producers) Japan Co-production Business Campus from
strengthening global planning ability. targeting Japan, China, and the US with July 16th to 22nd. In particular, the Korea-
As for the latter, we have a program local investors, producers and distributors, France program will be held in cooperation
supporting Korean producers capable of thereby serving as an opportunity where with Paris Cinema, a representative “project
planning and producing international international partners can present their own market” in Paris, France. A “project market”,
projects in world-class producing labs (such projects and understand their international unlike film festivals showing complete films,
as Sundance Producers Lab, Rotterdam partners’ film producing system. Also, is a forum where projects in planning stages
CineMart Producers’ Lab) overseas as well established producers from both countries are presented to investors, producers and
as a program running our own lab, called are to provide mentoring, helping the newer distributors, helping them find investment
Filmmakers Development Lab (FDL), where filmmakers to develop their projects so they and go into production. In this fashion, the
specialized mentors of the field support could reach actual co-production stages. eight co-production projects from Korea
filmmakers with co-production projects at In 2009, all programs except for the and France taking part in the Campus will

24 KOREAN CINEMA TODAY

enjoy an opportunity to introduce their own 2009 Korea-France Co-production Business Campus
projects and discuss them in addition to
enhancing chances of production success, Projects & Participants
by taking full advantage of the project • Korean projects
market. The Flowers of Evil by Daniel H. BYUN / KM Culture / Daniel H. BYUN (Director)
In Korea-Japan Co-production Campus, Hanaan by Ruslan PAK / Flying Tiger Pictures / Ellen KIM (Producer)
producers/directors of five select projects Hotel Volcano by KIM Tae-kyun / Camp B / KIM Tae-kyun (Director)
from Korea and Japan will meet up in The Housemaid by Gina KIM / Mirovision Inc. / Jason CHAE (Producer)
Jeju-do island to hold programs such as • Mentors LEE Joo-ick(CEO, Boram Entertainment Inc.), KIM Su-jin (CEO, Bidangil Pictures)
mutual pitching, mentoring and discussions. • French projects
The Korea-Japan Campus, celebrating its I Love Seoul / Nadège de Benoit-Luthy / Kazak Productions / Jean-Christophe Raymond
third year, is viewed as making positive Korean Love / Isabelle Gé / Mezzanine Films / Mathieu Bompoint
contributions to the field, where not only The Black Stones / ROH Gyeong-tae / Neon Production / Samuel Chauvin
young producers with a project at hand but Approved for Adoption/ Jung & Laurent Boileau
also their veteran counterparts participating • Mentors Guillaume de Seille, Laurent Lavolé
as mentors benefit from the event as the
mentors can get fresh ideas from the
youngblood and enhance their capability to
fit in with the co-production market. 2009 Korea-Japan Co-production Business Campus
Lastly, FDL is a program that focuses
on co-producing with North America. 5 Projects & Participants
English projects with the potential to be • Korean projects
successful in both Korea and North America Goodbye Leslie by TBD / Leslie PARK, KIM Young-jin (Producer)
are selected and each project is assigned to Hush by LEE Chul-ha / KIM Hyo-jung (Producer)
a mentor for a full week of intensive one- Marriage Blue by CHOO Chang-min / trizclub.co.ltd / HWANG In-tae (Producer)
on-one mentoring. It is a program where Sweet Memories by PARK Jeong-suk / Docu Heemang / SONG Seung-min (Producer)
you can truly plan and develop the project, The Moon by TBD / Move Filmnmedia / LEE Kyung-hee (Producer)
which constitute the real infrastructure of • Mentors SHIN Chul (SHINCINE COMMUNICATIONS LTD. President),
an international co-production project. FDL, OH Ki-min (MASULPIRI PICTURES President)
running for the fourth time this year, aims JOH Neung-yeon (The Host Producer)
to bring some changes to its form by being • Japan projects
operated as a section of NAFF, a component Not disclosed upon participants request.
of Puchon International Fantastic Film
Festival.

2009 Filmmakers Development Lab

Projects & Participants

Papa by HAN Ji-seung /Prime Entertainment / CHOI Soo-young (Producer)       
Red Lines by Ted CHUNG / Cherry Sky Films       
The Tricky Happenings of Wonder by SIM Sou-yun / Lena SHIN (Producer)
Soul Mate by KIM Ji-hwan / SHIN Chang-hwan (Producer)
The Calling by LEE Kyung-ja / Reuben LIM, Simon REEVES (Producer)
• Mentors
Romeo NOH (Novice Entertainment President),
LEE Kwang-hoon (Director)
Berry SABATH (Professor, AFI, former VP, Columbia Pictures),
Zak KADISON (Producer, Former VP, Fox Atomic),
Mike MACARI (Producer, President, FLAGRANT FILMS)

2008 Korea-Japan Business Campus

july·august 2009 25
PiFan & NAFF 2009

Creating a Network
for Asian Genre Films
In its second year, PiFan’s Network for Asian Fantastic Films (NAFF)
looks to nurture an industry base for genre films.

By Jean NOH

With the belief that contemporary film

festivals need to do more than just exhibit
films, PiFan created the Network of Asian
Fantastic Films (NAFF) last year to include
a projects market, industry forums and
screenings, and the Fantastic Film School
(FFS), a specialized genre film training
program.
NAFF provides project directors and
producers opportunities to meet one-
on-one with key investors and potential
co-producers, as well as hold individual
meetings with jury members who will give
advice and award cash prizes and post-
production support.
From ten countries, the 19 ‘It Projects’
selection this year ranges from thriller to
horror to action and black comedy, with two
animated films. The finalists include cult hit
Samurai Fiction director Hiroyuki NAKANO
with Numeric Love (working title), Mike
WILUAN with The Nail, from Eric KHOO's
new genre label Gorylah Pictures, and Asian-
American director Abraham LIM working
with producer Ellen KIM on Soul Station.
The NAFForum will have discussions on
3D cinema, co-production, and financing
in the global economic crisis with experts
like Daniel YUN from Singapore’s Raintree
and Yukie KITO from Japan’s Entertainment
Farm.
FFS will feature masterclasses with Kevin
ALTIERI, who worked on Marvel Comics
films, and SF writer Ted CHIANG among
others; while industry professionals will be
able to see selected films from the festival
and the past year of Korean genre films at
the Industry Screenings.

26 KOREAN CINEMA TODAY

Q&A Thomas NAM, Senior Manager of NAFF
Q. What are you most looking forward to and also Singapore to meet with Asian
at this NAFF? filmmakers and talked about their interest in
Although this is my first year in charge of genre films and told them about our project
NAFF, I did help out last year. We only had a market designed for genre filmmaking.
few months to prepare the first edition and I think this paid off as we got projects from
so there was a lack of participation from all over the world from Asian and Asian
the US and Europe. I wanted to focus on diaspora filmmakers.
that and the key Asian countries. I’m proud We also contacted virtually all active Korean
to say Nansun SHI (Infernal Affairs), Chris film companies and this paid off as we got
LEE (Superman Returns), Joo-ick LEE (A entries from not only established companies
Photo by KIM Seon-tae

Battle of Wits) and William Pfeiffer (CEO like Barunson but also newly established
of Tigergate), will be on our It Project jury – companies.
they are key members who have influence For the Singapore Spotlight I went to
on getting things made. Singapore and met with people at the Media
I’m most looking forward to two events Development Authority (MDA) and proposed
we have this year. Last year, the country collaboration. That resulted in the Singapore
Over the years, Thomas NAM has become Spotlight was just a small part of the Film Commission (SFC) being co-organizer
known as a fixer of festival issues. Currently It Projects but we developed it into a of the Spotlight, with them selecting five
NAFF Senior Manager and PiFan Festival separate entity with the participation of the projects from Singapore for the showcase.
Consultant, he joined the festival in 2007. Singapore government. I’m also thrilled In terms of finding a project, you go to
Previously, he was Festival Coordinator with be working with KOFIC to present individual filmmakers and talk one-on-one,
at the Pusan International Film Festival their FDL projects. and I think by doing that, you establish a
(PIFF) and Senior Coordinator at the Pusan Q. Where and how do you find your network amongst all these filmmakers.
Promotion Plan (PPP). He also served as projects? Q. What kind of market are you
Secretary General of the Network for the For this year, I went to AFM, Rotterdam’s positioning NAFF to be?
Promotion of Asian Cinema (NETPAC). Cinemart, Berlin’s EFM, Hong Kong’s HAF, I’m not sure at this juncture if we could
call NAFF a full-fledge market per se. But
It Project Line-up anyone participating in NAFF can get not just
title country director the exhibition aspect but the entire range
➊ Neighbor No.13 Philippines/South Africa Ato BAUTISTA of genre film industry. First, we have the It
➋ The Arsonists Korea HA Jun-won Project market, where they can seek the
➌ Tattoo War Singapore Yue Weng Pok potential of their project, then we have the
➍ Tsubaki Hime Japan Yu IRIE Industry Forum and Screenings where they
➎ The Visitor China Joshua TONG get to see industry professionals and their
➏ Soul Station Korea Abraham LIM output. Next, we have the Fantastic Film
➐ Shuffle Taiwan John HSU School and KOFIC FDL which are both kind
➑ Planet of the Noses Philippines Rox LEE of training programs that will prepare you for
➒ I am Real Singapore Yew Kwang Han the next step in creating your films.
➓ Numeric Love (working title) Korea/Japan Hiroyuki NAKANO It is through these different aspects that
 Rigor Mortis Hong Kong Quentin LEE I want to make sure NAFF can become a
 The Tempest Japan/USA John WILLIAMS solid foundation for Asian genre filmmakers
 Burn the News! (working title) Korea KIM Byung-woo to launch and develop their professional
 Breaking Point US/Vietnam Ham Tran film careers with fresh new ideas which
 Chased Hong Kong/US Ezra James EMERSON are also commercially viable. The role of
 Space Gore Korea/France Ly Jin the film festival these days can’t just be
 The Nail Singapore Mike WILUAN of a showcase of films already produced.
 Survivor Korea KANG Hyo-jin We have to be involved in the cycle of
 Trai Cay in Korea (working title) Japan Hidehiro ITO development, production, and exhibition.

july·august 2009 27
PiFan & NAFF 2009

Q&A HAN Sang-joon, PiFan Festival Director

films to Korean viewers. PiFan, for one, has difficult to invite foreign guests.
contributed to the development of genre Still, PiFan has always managed to stay in
filmmaking. Directors like PARK Chan-wook, the black. We may not make a profit, but our
BONG Joon-ho and KIM Jee-woon have often policy is to stay within budget and we don’t
spoken of how they were influenced by these go into the red. The festival has a very good
in mixing genre and arthouse film sensibilities system where the board of directors makes
in their own work. sure we maintain a healthy financial status,
With the internet, people have more routes to and I’ve come to appreciate that in the past
access films now than they did 10 years ago, four years.
but I hope we can continue to help influence Q. What are some of your favorite
the development of Korean films and memories from working at PiFan?
furthermore contribute to the development One of my favorite memories as a
of national cinemas and industries in Asian programmer is from our 10th edition. It was
countries like Singapore, Indonesia, the a difficult time at PiFan, and I first started
Philippines and Taiwan. working in January 2006 and had to program
Q. What are some of the things you are 150 features and 100 shorts for the 10th
Photo by KIM Seon-tae

looking forward to this year at PiFan? anniversary edition by July. It was very hard
I’m very much looking forward to seeing work and impossible to have a personal life.
how audiences react to the films because, I only went home to sleep. I really wanted
for instance, internet ticket reservations for to screen Werner HERZOG’s Grizzly Man,
opening film M.W. sold out in four minutes. but found out the distributor Lionsgate had
It feels like audiences and the press are been trying to sell it to Korea and had been
The always pleasant and assiduous festival looking more positively on the festival, and refusing festivals. It had been out almost a
director HAN Sang-joon was previously with greater anticipation. I’ve noticed a year at that time.
PiFan’s head programmer for a year in 2006. generational shift in audiences as well. I’ve I went to the Lionsgate office without so
Formerly, he was a professor of film studies seen bloggers who write they used to stay up much as a plan, and found out a man called
at Chung-Ang University, a journalist at all night watching films from the 1st edition of Joey Monteiro was in charge of the
the major daily newspaper JoongAng Ilbo, PiFan to the 10th, but can’t anymore because film. When I spoke to him the next day,
and also programmed films at the Pusan they now have office jobs and are married I just told him very sincerely that I am a
International Film Festival (PIFF). Jean NOH with children. Then there are younger ones cinephile, I was about to have a translation
met with HAN to gain some insight into his who express excitement at planning to go to of Truffaut published in Korea, and I really
work and character. their first PiFan. So I’m also looking forward felt an obligation to screen Grizzly Man for
to seeing what our audiences are like at this Korean audiences so they could watch it –
Q. When it comes to the role of film edition. not on DVD, but on the big screen, much at
festivals in Korea, what do you think has Q. In the current economic climate, the same time as other audiences around
changed the most in recent years, and festivals around the world are running into the world. Two days later he said yes,
what do you hope to do with PiFan? difficulties. How is it for PiFan this year? “Congratulations, you can have the film for
When PIFF first started in 1996 and PiFan Our total budget is similar to last year, but it’s PiFan.” I told him how passionate Puchon
in 1997, a major part of the festivals’ roles true getting sponsorship has become harder. audiences are, and I promised I would tell
was that they screened new Korean films to The public funding we get from Bucheon them this story during the festival before the
foreign viewers. Since PARK Chan-wook’s City, Gyeonggi Province, and the national film’s screening, and I did.
winning the Cannes Grand Prix in 2003 government has actually been increased, What’s even better is that while we were
(with Old Boy), more and more films have thanks to our stabilized image. emailing, he agreed to give me a few more
been going directly to bigger overseas film Sponsors are still generous with non-cash Lionsgate films that year, all without
festivals for their premieres. items like catering or the more than 10,000 condition, based on trust. So this is the kind
But I also think our festivals have played a bottles of water or T-shirts for our volunteers, of beautiful thing that can happen in a world
meaningful role in helping the development but getting cash is harder. With the higher full of people living together. Personally, it’s
of Korean cinema by introducing foreign exchange rate these days, that makes it more something I can never forget.

28 KOREAN CINEMA TODAY

Q&A KWON Yong-min, PiFan Programmer
Quietly making his way around the world curious about seeing how audiences will
in search of films, KWON Yong-min is in react to the selection. In particular, we’ve
his fourth year as one of PiFan’s two top programmed some very strong films in
programmers. A film critic and previously a competition this year and I’m curious to
broadcast scriptwriter, he also lectures on see what Korean audiences will think of, for
cinema at Hongik University. instance, the French film OSS117 Lost in
Rio, which is more in line with the humor
Q. Where and how do you find your films? of Austin Powers and nothing like most of
I travel to festivals like Sitges, Tokyo, the French cinema shown in Korea. I’m also
Berlin, Hong Kong, and Cannes, tracking looking forward to the Hong Kong D&B Films

Photo by KIM Seon-tae

films and checking them out for our showcase. Most of these films were only
festival. Networking has helped over the available to Korea on shabby videotapes, so
years, and now people will come to us I’m excited about seeing them on the big
because they know us already or have screen with our audiences.
been recommended. A lot of the Korean We have more actors attending from abroad
and Japanese animations this year came this year, like Nick Chung from Dante Lam’s
directly to the festival as submissions. competition film The Beast Stalker, along goes from porno videos to snuff films.
Q. What are you most looking forward with popular animation directors from Japan Q. What inspires you the most in your
to at this edition? and, personally I’m also looking forward to programming?
Personally, I’m always excited about meeting Mladen Djordjevic, director of Life When you choose films to share with people
meeting with people at our festival and and Death of Porno Gang in which a director and they enjoy them, that’s inspirational.

Q&A Jin PARK, PiFan Programmer

he executive produced Roads of Kiarostami Q. How do you think the world of

(2006) as the festival’s opening film. fantastic/genre films is changing today?
Do you see any trends?
Q. How do you go about programming the Genre filmmaking is still a great way for
festival? young and debuting directors to show off
Until last year, KWON Yong-min and I used their abilities. It creates a platform for them
to split the sections with me concentrating with a worldwide base. What I’ve been
on Europe and the Americas, while he noticing is that, before, Asian genre films
focused on Asia, but with all the traveling would be differentiated very specifically
we do, and the people we’ve come – for instance, Hong Kong action, Korean
Photo by KIM Seon-tae

to know, there’s often an overlap. We horror – but now the field is widening and
did split the retrospectives and special this year we have action and horror films
sections again this year, but otherwise we from Indonesia. The international circuit
both discussed and checked all the films is getting a freer flow and each country in
together. We went to different festivals Asia is widening their base for genre films.
and markets like Sitges, AFM, Rotterdam’s Of course, the level of professionalism in
In his third year at PiFan, the energetic and Cinemart, EFM, and took submissions and Europe and the US for genre filmmaking
humorous Jin Park is one of the festival’s looked at everything. I find our professional is still high and there are always debuting
two top programmers. He has been writing network has grown and more directors and genre directors to pay attention to.
reviews and lecturing at Chung-Ang University production companies are approaching us Additionally, you have this stronger flow to
since 2002 and previously worked at the at a very early stage so they can time the Hollywood from all over the world, where
Green Film Festival in Seoul (GFFIS) where launch of their films at PiFan. genre filmmakers can sell remake rights.

JULY·AUGUST 2009 29
spotlight

DESTRUCTION OF
AN ICONIC IMAGE

By KIM Su-yeon critics responded to their choices with ill role of Saya, a vampire hunter born between
Beauty can easily become a trap for an remarks as oppose to praises. Adding up the vampire and human. Dressed in high school
actress. For someone who aims to be an misfortune, the brand power she had earned uniform, heroine Saya swings her long
actor, beauty can be quite a useful tool, from My Sassy Girl began to slowly fade sword, shredding vampires in an orchestrated
but once that path is taken the actor could over time. blood bath with an emotionless face like a
forever remain a dull still life on screen. Despite such harsh criticisms, this young ghost. As she delivers English dialogues in
Gianna JUN debuted into the world of actress with 10-year career firmly continued a low-tone voice, her eyes cold and out of
entertainment as a magazine model in her taking on new challenges. Putting aside focus, nowhere on screen is the lively ‘sexy
teens, and soon became a top star with director KWAK Jae-yong’s Windstruck queen’ Gianna JUN.
My Sassy Girl (2001) by KWAK Jae-yong. (spiritual prequel to My Sassy Girl), where JUN had invested full 5 years as an actress
A beautiful new face bursting with raw she recycled her image from My Sassy Girl, for Blood . It is the total amount of time that
charisma blended so well with a new kind of the exceptional choices JUN has made are took since she was first recommended with
character that has never been seen before, worth reviewing. She has chosen horror film the project from the producer Bill KONG
and the devastating wave of JUN syndrome The Uninvited, action-melodrama Daisy (a (famed producer of Crouching Tiger, Hidden
started to sweep Korea. The wave then collaboration between 4 Asian countries), Dragon), then shooting the film, and having
crossed the borders and spread throughout and director CHUNG Yoon-chul’s A Man the film premiered across the world. It was
all of Asia. Who was Superman. At the height of her a long period of patience, as she had to
The media that made her into a star popularity she chose the role of a ghost- go through an audition although she was
was film, but she is better known for her seeing married woman (The Uninvited), already a star in Asia, receive severe pre-
appearances in commercials rather than and a realistic and tomboyish documentary production action training, and several years
from her roles on the screen. In other producer (A Man Who was Superman). of English lessons.
words, she has become more of a ‘star’ These series of characters she selected went Through such steady efforts JUN is slowly
than an ‘actress’. Perhaps it is because of against the sexy, refreshing images that she transforming back into an actress, and not a
such branded exposure that some criticizes has maintained in the commercials. star. It is a constant process of denial against
JUN as an actress who becomes more alive In that sense, her latest film Blood: The being a ‘still life’ on screen, to escape from
in short and powerful commercial format, Last Vampire will be a notable title to be her trap of beauty. She has yet succeeded
rather than her acting chops on screens that listed on her filmography. Adapted from in perfectly overcoming the stereotypical
require a consistent flow throughout. Such the animation of the same title directed image she has carved out for herself.
criticisms seem to have had profound effect by OSHII Mamoru (Ghost in the Shell, However, she ceases to stop and is in the
on her choices of films. Ever since starring Innocence, The Sky Crawlers), Blood middle of endlessly expanding her limits and
in My Sassy Girl, JUN and her management is a global project created by a team of boundaries of her abilities. Let’s hope that
company have been taking somewhat overly multinational crew and was produced with the day will come when Gianna JUN will be
cautious attitude in choosing roles and films investments from Hong Kong, Japan, France able to use her beauty as a vital tool, and
to star in. Unfortunately, the media and and Argentina. In the film, JUN plays the not a trap that blocks her way.

30 KOREAN CINEMA TODAY

JULY·AUGUST 2009 31
spotlight

The Actress
of Positive Stateless

By BECK Una sister away is beyond space and language in even felt natural when she spoke mostly
It’s rude to ask her nationality. BAE Doo- The Host (2006) by BONG Joon-ho. in Japanese during early episodes of the
na, born in Korea, October 11, 1979, isn't Her love for traveling and taking photos Japanese TV series ‘Someday’, where she
just an actress who can be confined as resulted in several successful coffee table starred as Yamaguchi Hana, a Korean-
a ‘Korean actress’. She does not possess books such as ‘Doona’s London Play’, Japanese character. It’s unsurprising to see
the so-called ‘export-friendly’ ‘Mulan' ‘Doona’s Tokyo Play’, and ‘Doona’s Seoul her shout ‘tadaima’ (‘I’m Home’, a phrase
appearance, of long black hair with sharp Play’, which made her into a bestseller used when someone comes home), or when
eyes. By all account, she does not have the artist. She’s a traveller who is always ready she transforms into an adoptee in France,
looks of a typical international star. The face to leave and make the most of the place or even when she stars as a yellow skinned
which can make perspective powerless and she has set her foot on. Flipping through girl in the middle of Africa. It isn’t only
is beyond intimacy. Her face is at the very her books, you will find her picking out a because of her brilliant ability to absorb
unique spot where you can hardly argue flower in a foreign land and walking back new languages, but her keen observation
whether it is pretty or not, or tell where she to her temporary residence, as if she has of gestures and behavior of foreigners.
is from. Then we might call her an actress made it her home for the past 10 years. Her She certainly has her own style no matter
from earth, but even that seems far fetched unusual method of traveling is a glimpse what language she uses, but she never
at times. So all these identifications become of her nomadic feet and settler’s heart, and forgets to layer her performance with native
meaningless. this human being’s natural way of life, and idiosyncrasies of that particular culture.
The messages BAE Doo-na tries to a link to her acting skills. Her feet have led This positive stateless mindset opens her
convey in her films often overcome the her from melodrama to comedy, from action up to so many opportunities, so that it
language, which divides nations as well to drama: from the maze-like corridors of wouldn’t seem all that implausible even if
as cultures. She was the one character Barking Dogs Never Bite (2000) by BONG she plays an alien or a cartoon character.
able to communicate with her mute lover Joon-ho to the shabby streets of Incheon in In that regard, it’s not startling to see her
RYU (SHIN Ha-kyun) with sign language Take Care of My Cat, from the small practice come alive as a ‘doll’ in Air Doll, the latest
in Sympathy for Mr. Vengeance (2002) room of Linda Linda Linda to Han-gang film by Hirokazu KOREEDA, who received
by PARK Chan-wook. She shared her river of The Host by BONG Joon-ho, and international attention with 2004 film
loneliness through rhythms of guitar and from Japan to Korea, just like a curious cat, Nobody Knows.
drums with the members of The Blue never being afraid of unfamiliar genre and At Cannes Film Festival in May 2009,
Hearts band in Linda Linda Linda (2005) uncharted area. BAE graced the screen not with buddying
by Nobuhiro YAMASHITA. It was BAE who In doing so, BAE has never used phrases Korean films like Thirst or Mother but as
filled her mouth with a large dumpling and like ‘venturing out to foreign markets’ or the protagonist of this Japanese film. But
swallowed her sorrow in Take Care of My labels like ‘Hanryu Wave’, but someone it would be unruly to call her a Japanese
Cat (2001) by JEONG Jae-eun. And finally who is innately comfortable with various actress, as it was falsely reported by
her striking pose with bow and arrow, genres and nations like someone who international press. Perhaps it would be
aiming directly at the monster who took her was always there from the beginning. She more apt to call her a universal actress.

32 KOREAN CINEMA TODAY

 A
Chronicle
of
Fear
and
Youth
On the 10 th anniversary
of Whispering Corridors series

34 KOREAN CINEMA TODAY

 There was a celebration for the 10th
anniversary of Whispering Corridors 's
release on May 30, 2009. A special
screening was held on that day, of all
the previous films in the series prior
to the release of its 5th installment.
Since the introduction of the original
Whispering Corridors , this series is
the only series that has survived over
the years despite bombardment of
countless horror films and copycats
during its prime season: summer.
This was accomplished by overcoming
immature circumstances and
fundaments for making horror films in
Korea. Here is the story of Whispering
Corridors series in the past 10 years.

By JU Sung-chul reached 2.5 million admissions (still the treatment. Even though a horror film had
On May 30, 1998, the legend of Whispering most successful installment of the series), an never reached any measure of success in
Corridors series began. At that time, horror astounding number, considering it was an Korean film industry, those three were
genre films had seldom been produced original film with a group of unknown cast. pretty confident that this was going to be
in Korea and youth films also had almost The idea of the film was first incubated different. Director KANG Woo-suk, as the
dried out after Happiness Does Not Come by producer OH Ki-min in the winter of director of Happiness Does Not Come In
In Grades (1989). Whispering Corridors was 1997. But no one ever cared to the idea Grades who led the boom of making youth
made by a combination of a new, unproven of a horror film because the genre was not films at the end of '80s, liked the concept
director and unknown cast, save for LEE popular and was considered a sub-genre of ‘dwelling ghosts at school' and producer
Mi-youn, who played the teacher. Although at the time. After he had been rejected by OH focused on a potential combination of
the film was far enough away from the more than 10 production companies, he a horror film and a rebellious youth films
mainstream of the era, audience responded finally met LEE Choon-yeon, the president like Linsay ANDERSON's If.... (1968). For
to the film quickly and more importantly, of Cine 2000, who was interested in the president LEE, he was eager to challenge
teens’ reaction was enormous even though idea, and director KANG Woo-suk, head a different genre of film after making a
it wasn’t released during the summer of Cinema Service, joined the project and thriller Deep Scratch (1994) by KIM Sung-
vacation season. The final box office result decided to invest in it after reading a short hong.

JULY·AUGUST 2009 35
Whispering Corridors

chorus who often hears strange sounds, and

Mina (KIM Min-sun) is the narrator of the
film and happens to pick up a diary that
chronicled the exchanges between Si-eun
and Hyo-sin. As Mina reads the diary and
learns of their secret relationship, Hyo-sin
suddenly jumps off the school roof and
kills herself. It is revealed that Hyo-sin and
Si-eun haven’t talked to each other since
they had a fallout a month ago.
Memento Mori was an elaborate master-
piece made by producer OH Ki-min and
CEO LEE Choon-yeon in order to surpass
what the previous film had achieved.
While the director of Whispering Corridors ,
A Blood Pledge
PARK Ki-hyung, had the experience of
“the sensitivity of horror genre” with his
Girls’ High School Became film were well organized. Taking benefits short film, Expansive Delusion , Memento
a Stage of Fear from the genre itself, the film successfully Mori 's co-directors KIM Tae-yong and MIN
Whispering Corridors was a well-made film indentified with audience by realistically Kyu-dong (Korean Academy of Film Arts
by mixing the conventions of the horror depicting high school life: violent teacher, graduates) didn’t have such flair. Their first
genre and the reality of the unique Korean sexual harassments, students concerned with short film, Seventeen , was about teens
educational system. The film begins on only grades and students with inferiority looking for an outlet to quench their desires.
a late night, when teacher PARK calls complex. When those realistic factors While making Memento Mori , the young
someone and talks about a student, named combined with closed school system that directors brought different ideas into the
Jin-ju. The next day, the body of PARK is insisted on covering up the truth, the film film. School's dark and gloomy atmosphere
discovered by students - Jio (KIM Kyu-ri) became more than just another horror turned into a bright and daytime classroom
and Jay (CHOI Kang-hee). The school covers or youth film. That might be the real full of girls’ chatters; instead of taking the
up the incident and then a new teacher, reason why Korea Teacher's Association common subject of horror film - ghost -
HUR (LEE Mi-youn), arrives as a substitute. officially complained to the production the movie dealt with a matter of suicide.
Having graduated from the same high company when it was released, but they Above all, the film had homosexual tone
school, HUR comes to find traces of her accused the film for the scenes containing as the basis of its narrative, which was
friend, who died 9 years ago, in a series of teacher's sexual harassment and excessive an innovative challenge for conservative
ominous incidents. Jin-ju was an isolated punishment. Koreans at the time. And it was a metaphor
student and classmates bullied her because The success of Whispering Corridors fast- of deviation of two girls against that
she was a daughter of a female shaman. tracked the development of its sequel, imposing the collective thinking to an
HUR and Jin-ju were very close friends, but Whispering Corridors 2: Memento Mori individual and the society being operated
PARK forced HUR to end her friendship (1999). Even though there were 2-3 years under strict rules. However, the final box
with Jin-ju in order to focus on studying. of term between subsequent films in the office score (400,000 admissions) was dismal
Soon after, Jin-ju meets her end when she is series, this quick turnaround showed how compared to the previous record. There were
bullied mercilessly by her classmates. Since much anticipation had built up for the several possible reasons for such failure.
then, a series of murders has occurred in the sequel. While Memento Mori has often Releasing in December for a horror genre
school and HUR and Jio come to realize that been considered as the best in the series film was a bad marketing decision, and
there is a link between subsequent murders by its fans, narratively it turned out to be homosexuality theme in a horror film didn't
and Jin-ju. a completely different film. And by giving fit in well. However, directors KIM Tae-
Whispering Corridors is still being eval- a new sensitivity to the series, it resulted in yong and MIN Kyu-dong became prominent
uated as the best one in the series. PARK's the notion that “Whispering Corridors series figures in the Korean film industry
line before her imminent death - “Jin- is not frightening”. Memento Mori tells a thereafter.
ju still dwells at school” - was constantly story of three girls: Si-eun (LEE Young-jin) is
repeated in order to increase the tension, an athlete with a hearing problem, Hyo-sin Seeking a Newly Styled Film
and the narrative and structure of the (PARK Ye-jin) is an accompanist for a school Whispering Corridors 3: Wishing Stairs

36 KOREAN CINEMA TODAY

(2003) picked up on the topic of ‘jealousy'. representative, she heads to the Wishing box office performer (200,000 admissions),
While the first film dealt with school Stairs and eventually her wish comes true. it is nonetheless a meaningful, unique
violence and the second did the love of Since Wishing Stairs was up against A Tale attempt. Young-un (KIM Ok-vin) stays up
youths, Wishing Stairs portrayed a story of of Two Sisters , which was produced by the late at school for her vocal training and
an isolated student set in an arts school. series creator OH (who left the series to suddenly realizes that someone is singing
‘Wishing Stairs' is an actual place in the produce the said film), Wishing Stairs had along with her. She tries to run away from
school, which consists of 28 steps and an a lot of expectations to fill. While A Tale the voice, but she ends up in being killed,
accompanying tale about how one could of Two Sisters was a critical and box office slashed by music score. The next morning,
walk up the steps while praying, only to find hit with over 3 million admissions, critics Young-un awakes up from her sleep in the
29th step appearing before her and granting weren't as kind to Wishing Stairs upon its music room as if nothing has happened. But
that wish. Dance classmates Jin-sung release. But the film brought attention its she is now a wandering spirit, and only her
(SONG Ji-hyo) and So-hee are best friends, female director, YOON Jae-yeon. Wishing best friend, Sun-min (SEO Ji-hye) can hear
but Jin-sung was always second only to Stairs drew 1.8 million admissions and her voice. Turns out another mysterious girl,
So-hee. When Jin-sung happens to hear became the second hit of the series thus far. Choa, can hear the voice of the dead, and
teachers’ talks of a ballet competition and While Whispering Corridors 4: Voice she warns Sun-min not to trust Young-un
their decision to send So-hee as the school maintains the dishonor of being the worst too much, saying “The dead memorizes only

Developed in Korean film industry, this series is noted for

having the vitality to keep on going and making distinct
formulae and patterns that shape the genre.

A Blood Pledge

july·august 2009 37
Whispering Corridors

Wishing stairs Voice

There is a saying in the Korean film industry that goes “Even if

the box office score may be terrible for a Whispering Corridors
installment, the same can't be said for the actresses' future”.
what they want to memorize”. And soon the which adhered to the traditions of the horror (Whispering Corridors ) went onto direct
body of Young-un is discovered, and Young- genre, performed well; while the second a film in the series and he recently made
un's voice turns deviously strange. and the fourth films failed to ignite the box Life Is Cool , Korea's first animation using
Voice is often compared to Memento Mori office, but both films are noted for their rotoscoping technique that was utilized in
due to its attempt to renew the series by unique styles and were well-received by the Richard LINKLATER's Scanner Darkly and
seeking a new style. Director CHOI Equan critics. Developed in Korean film industry, Waking Life . Also, RYOO Seung-wan, who
made the decision to focus the story from where franchises aren't the norm and where is famous for his actioners such as Crying
the shoes of a ghost to reveal the emotional popular series don't go more than 3 films in Fist and The City of Violence , was a crew
core, instead of making another stereotypical any genres, this series is noted for having the member of Whispering Corridors ; director
horror film. Since many elements were vitality to keep on going and making distinct JEONG Jae-eun of Take Care of My Cat and
already explored in the previous films, CHOI formulae and patterns that shape the genre. The Aggressives was a script supervisor of
approached the film in a different way with (LEE Choon-yeon often mentioned in Memento Mori .
a fresh story and a unique, vivid concept. interviews that he hopes to make at least 10 There is a saying in the Korean film
For example, he took careful attention to films for the series) industry that goes “Even if the box office
sound design: disappearing voice, flickering Above all, it should be noted that score may be terrible for a Whispering
bulbs synchronizing with the voice, and Whispering Corridors series has played an Corridors installment, the same can't be said
the noise from boiler room sounded alive important role as a gateway for a number of for the actresses' future”. Young and aspiring
and disturbed the audience. In spite of the new faces in Korean film industry. When it newcomers are flocking to the auditions for
director's ambitious approach, Voice bombed comes to actresses who starred in the series, the new Whispering Corridors film as it is
at the box office. Potential reason could be the list is filled with dazzling names who known to lead to a bright future. KIM Kyu-
because the film went a step too far beyond became stars afterwards. The same can be ri of Whispering Corridors subsequently
audience's expectation just as Memento said for a number of rising directors. PARK appeared on A Nightmare and Bunshinsaba
Mori did in the past. Ki-hyung of Whispering Corridors , KIM Tae- as famed “Horror Queen”; PARK Jin-hee,
yong and MIN Kyu-dong of Memento Mori who played a selfish bookworm student,
A Gateway for New Faces have made more than 2 feature films since starred in Underground Rendezvous ,
Whispering Corridors series, 4 films so far, their debuts; YOON Jae-yeon of Wishing Shadows in the Palace and Lost & Found;
has accumulated 4.9 million admissions Stairs is currently finishing up her follow-up CHOI Kang-hee, whose character held
in total and only the 4th film didn’t reach horror film Yoga , which stars Wishing Stairs vital secret, appeared on My Scary Girl
the break-even point. And it has shown a alum PARK Han-byul; Voice 's CHOI Equan and continues to receive prominent roles.
pattern that the first and the third films, was a rare case where an assistant director Memento Mori alums KIM Min-sun and

38 KOREAN CINEMA TODAY

PARK Ye-jin took role on several major films Distinguished Figures
and TV series. PARK Han-byul of Wishing from Whispering Corridors Series
Stairs has appeared on Fate and a number of
commercials; SONG Ji-hyo worked on Some Producer OH Ki-min
and A Frozen Flower ; JO An has starred OH is regarded as the brainchild behind the series. He
in numerous films including Spin Kick , happened to hear a story of a ghost trapped in a drawing
Muoi: The Legend of a Portrait . Voice also room, and began developing a story of a ghost at a high
featured a number of actresses who reached school. However, because investors and producers did not
stardom as well. KIM Ok-vin went onto star care much about the combination of "girls' high school" and
in Dasepo Naughty Girls , TV drama ‘Over "ghost", he swept this idea under the rug and went onto
the Rainbow' and renown director PARK to work on Alien (1998) with director MOON Sung-wook
Chan-wook's latest effort Thirst ; SEO Ji-hye and actor AHN Sung-ki. Meeting with LEE Choon-yeon and
appeared on TV drama ‘Shin Don', ‘Over KANG Woo-suk, the project finally got off the ground. OH
the Rainbow' and The Mafia, the Salesman ; insisted on working with PARK Ki-hyung, a rising director, who caught his attention
CHA Ye-ryun worked on A Bloody Aria and at the 3rd Seoul Short Film Festival with the short Expansive Delusion, as OH hoped
another horror film Muoi: The Legend of a to work with a new director for the film in spite of vocal objections. Since then, the
Portrait with JO An. tradition of a new director per installment was established. Having left the series,
A Blood Pledge , the fifth and latest film he established his own production company, Masulpiri Pictures, and produced Take
in the series, inherits the tradition of the Care of My Cat (2001) and A Tale of Two Sisters (2003). Serving as the head of policy
series; a combination of a new director and planning committee at Korean Film Producer Association, he has been involving in
new faces. Director LEE Jong-yong worked urgent agendas within the Korean film industry as a thinker and a speaker. He is
for PARK Chan-wook as an assistant director currently the CEO of iFilm and recently produced Crazy Waiting (2007).
in Threesome , Joint Security Area: JSA and
co-wrote the script for Sympathy for Mr. Director KIM Tae-yong
Vengeance . For reasons mentioned above, Although PARK Ki-hyung of Whispering Corridors has made
the audition for main characters was highly a number of feature films such as The Secret (2000), Acacia
competitive and the chance of landing the (2003) and Gangster High (2006), there is no doubt KIM Tae-
role was 5545:1. In the end newcomers yong is the most acclaimed director among the directors in
OH Yeon-seo, JANG Kyung-a, SON Eun- the series. KIM directed Memento Mori with his best friend
seo and YOO Shin-ae were lucky enough to since Korean Academy of Film Arts, MIN Kyu-dong, and the
break through the competition. It's been 4 concept of co-directing a commercial feature film was almost
years since the series' last installment and non-existent at the time (Seoul Emperor (1986) was another
the anticipation is slowly building. The example, co-directed by JANG Sun-woo and SUNWOO Wan).
narrative of A Blood Pledge is revealed to be Even though the final box office score of Memento Mori was poor in comparison with
a collage of previous 4 films, as the director that of the previous one, KIM became famous for his unique style. Since Memento
had originally intended. The film's central Mori , KIM participated on an omnibus film Pass Me (2004), a human right project If You
idea hinges on the notion that adolescent Were Me 4 (2008) and made On the Road, Two (2005), a documentary about YB Band
girls are always together and the film and Family Ties (2006), which won the grand prize at Thessaloniki Film Festival.
depicts a group of friends who promises to
stay together forever; school, study group, Actress KIM Ok-vin
washroom and even during their moments The list of actresses who starred in the series is a great
of death. The ghost theme is taken from source of pride not only for the series, but also for Korean
Whispering Corridors , the suicide theme is film industry. Most of actresses from the series have had
from Memento Mori , and the jealousy motif their career highs on film and TV. Among them, KIM Ok-vin
recalls Wishing Stairs . Taking this collage of Whispering Corridors 4: Voice is the only actress to step
technique seems to be meaningful and a on the red carpet at Cannes Film Festival with her role in
well-timed project at the moment as the PARK Chan-wook's Thirst. Since Voice, KIM subsequently
series is being expected to produce more starred in E. J-yong's Dasepo Naughty Girl (2006) and YEO
films. It's interesting to think how the series Kyun-dong's The Accidental Gangster (2008) and finally
will evolve when its 20th anniversary comes Thirst which would soon be known as turning point for her acting career. She is
around. currently in talks to star in E. J-yong's latest effort Actress.

july·august 2009 39
BEHIND THE CURTAIN

The Big Sister of

Korea's Art Film Scene
KIM Nan-sook, the Representative of Jin Jin Pictures

By HWANG Hee-yeon films, and also in charge of running a cinema achievements stands KIM Nan-sook, who's
The performance Jin Jin Pictures has shown house, Jin Jin Pictures has recently succeeded been a leader of art films for the last 15 years.
in Korea's art film scene has been surprisingly in scoring another achievement. Followed by To an ordinary person, her life so far
exceptional during the last 2 and half years its success with Our School (2006) and Once could be interpreted as a life of recklessness.
since its launch. An importer and distributor (2006), local independent film Breathless Giving up being a member of a major
of domestic and foreign independent art was a big hit. At the center of its latest broadcast company (SBS cultural program
department) and joining media production
team of big company was one of few safe
choices she has made. Salary was cut and
work flooded, but those were the days of
heart filled with passion, just happy to work
in the film business that she has dreamt of all
her life. She wanted to put herself to flames
again with the energy she had as a young
college student dreaming about becoming a
filmmaker. That was why she could endure
3 years at a giant company where numbers
meant everything, consoling herself by saying
she took her first step towards film industry.
Around that time, a friend threw her a
question: “what would you like to do during
the 10 years of your 30s?” Those casual and
seemingly innocent words were what made
her decide to quit her job.
Following KIM's resignation, she decided
to work at an art house theater that was
much smaller than what she had thought at
first, with much less salary. What is more, the
theater was a very unconventional one at
the time that focused on art films instead of
common commercial films (along with Core
Art Hall, it was one of the two major art film
houses in Seoul). People couldn’t understand
why she would move to a job that pays far
less, but the stubborn woman did not care.
The theater was Dongsoong Film House, the
first to install official ‘art film hall’ in Korea
and now a leader in its field.
“Never once did I regret. Even now, the
best thing I did in my 30s was leaving

40 KOREAN CINEMA TODAY

Daewoo to work at Dongsoong. Working away ‘art film’? Working as the company
in a large company, an individual becomes representative for the last 2 and half years,
just that, small and insignificant being that she still lives her cinematic life, introducing
is crushed under the size of the firm. Clients indie films and meaningful foreign art
give jobs not because of what I can offer, films to Korean fans. The spectrum has
but because of the size of organization I become much wider. In the past, theater
work for. At a place like that, there aren't management was the main business with
much that I can do.” art film import and distribution on the side,
With that decision, she dove into the Breathless but now the latter is just as important to the
center of Korea's art film history for 15 company as the former.
years. She came to manage Dongsoong Jin Jin Pictures is in charge of running
Cinematheque specializing in art films and Followed by Hypertheque Nada, the upgraded version of
began to screen Korean independent films
that are like diamonds in the rough. It was
its success with Dongsoong Art Center, and acting manager
of Cine Code Sonje at Samgcheong-
in mid-1990s, just when Renaissance has Our School (2006) dong. The way of managing these two
begun for Korean films. Desire of art film and Once (2006), theaters is quite different. By analyzing the
fans was exploding like volcanoes, wanting
to see art films only seen in film books or
local independent surrounding environment in great detail
and feature of the audiences, measures
foreign magazines at high class theaters. film Breathless was are being taken to have more people come
Baekdu-Daegan specializing in art film
import became an quintessential partner of
a big hit. into contact with art films. Unlike the days
when there were just a few art film theaters,
Dongsoong Cinematheque. recent domestic art film houses are each
Baekdu-Daegan's import Abbas trying their own methods to be unique. It
KIAROSTAMI's Where is the Friend's Home is only natural that the two theaters ran by
(1987) opened at a single 235-seat hall the ‘Big Sister’ of art films have something
in Dongsoong Cinematheque but it was a special that the others don’t have. She has
great success, selling 45,000 tickets during made Hypertheque Nada fit for atmosphere
its run. Other various art films drew many of Daehakro (a hip district filled with college
viewers and the Cinematheque gradually students and local theatre productions)
reached average of 350,000 people per year. into a cultural center the audiences who
Generous government support also helped come to see the show can share. As for Cine
run the theater. Code Sonje, she upgraded it into a space
It was a not easy to show art films 3/5 of that also appeals to photography and art
a year and keep the screen quarter rule for lovers by adapting it to fit with Samcheong-
Korean films at the same time. Nevertheless, dong, a district that fuses the old and the
Once
Dongsoong Cinematheque came to be the new. Instead of settling down in one place,
Mecca of film manias in its own meaningful she is also preparing many events so that
way. Indifferent to the ups and downs of At a glance, the road KIM has taken may more audiences can have a ‘heart-moving’
art film market, KIM delivered countless seem reckless, but it is rather reasonable experience with art films.
art films to the audience as the pillar of path for someone with passion. Although The same goes with importing and
Dongsoong for the last 11 years. Even she never had the experience of gathering distributing films. She does not have a
today, she is working actively in the field 10 million viewers, she says she lives every rule of her own. Instead of those inflexible
as the representative of Jin Jin Pictures. moment with delight that overcomes such ‘know-hows’ people who have been in
The company specializing in import and experience. “I learned that if a film has a the business for a long time insist, she
distribution has so far made a name with ‘clear’ story to tell, and is delivered ‘clearly’ contemplates over the right methods of
documentary Our School that drew a total to avoid confusion, it will click with the distribution and PR, as if she is handling
of 90,000 admissions, and Breathless, the right audience in the end.” One by one the films for the first time. That is the reason
biggest success in Korea's independent film fruits of her efforts are ripening these days. why Jin Jin Pictures is making record high
history, with 121,000 admissions, as well as That is how Jin Jin Pictures is leading the success in art film business, beyond making
Once the biggest hit among all foreign art way in independent art film scene. stable outcomes. And at its core stands KIM
films with 220,000 admissions. What would be left in her life if you take Nan-sook and her love for art films.

july·august 2009 41
VIEW

3+3

By Darcy Paquet (Koreanfilm.org) attract attention. awards, the critical buzz did not attach itself
During the 1990s, As Chinese filmmaking has continued to just a few names. It instead remained
the international to expand and diversify in the last decade, rather diffuse and widespread. I remember
film community more and more directors have attracted speaking with some journalists at this time
began to take notice international notice. But it seems to be who clearly felt this was a problem. In
of filmmakers from human nature to want to condense a order for Korean films to really make an
mainland China. The multifaceted, diverse national cinema down international impression, the press would
process had started to a few, easy to remember names. Certainly have to rally behind a few key names, they
with the critical it's easier to follow the careers of a few said. And perhaps they were correct, in the
success of CHAN Kaige's Yellow Earth individuals than to constantly keep an ear sense that in places like Europe and North
(1984), and gathered momentum when out for the most interesting films coming America, Korean cinema of this decade never
ZHANG Yimou's Red Sorghum won the top from a certain territory. attracted anywhere near the attention of
prize in Berlin in 1988. Within a few years, International interest in Korean cinema, Chinese films in the 1990s.
CHEN and ZHANG were winning major which only really developed at the start But which names to rally behind? A critic
prizes at Cannes, Venice and the Academy of this decade, followed a much different in 2003 or 2004 would have to decide who
awards while at the same time securing trajectory than that of Chinese cinema. of IM Kwon-taek, KIM Ki-duk, HUR Jin-ho,
distribution deals around the world. Beginning in the early 2000s, a combination PARK Chan-wook, HONG Sangsoo, JANG
There was great energy in Chinese of commercial success and general critical Jun-hwan, BONG Joon-ho, KANG Je-gyu,
filmmaking, any critic could have told you. buzz created the sense that there was a new LEE Chang-dong, KWAK Kyung-taek, E.
However if you had asked those same dynamism and vitality in Korean cinema. J-yong, LEE Myung-Se, IM Sang-soo and
foreign critics to name all the Chinese News stories began to appear describing the many others deserved to be singled out as
directors they knew, the list might have onset of a new generation of filmmakers. the leaders of this new movement. Many
stopped at two. More informed critics Major festivals also began to screen Korean of these directors had only made a couple
might have added Tian ZHUANGZHUANG, films with some regularity, though as critic films at this point, so it was hard to see who
director of The Blue Kite (1993), or perhaps Derek ELLEY has noted, Korean cinema would have staying power. At the same time
ZHANG Yuan, who made the controversial depended much less on festival invitations it seemed unfair to place a strong focus on
East Palace, West Palace (1997). But for and awards in building its international just a few of these names at the expense of
most people, it seemed, two names were reputation. Even to this date, no Korean film all the others.
sufficient. A new film from ZHANG Yimou has won the top prize at Cannes, Venice or At this time it had become sort of a
or CHEN Kaige was certain to attract ample Berlin, and no film has been nominated in catchphrase to say that the strength of
press coverage and invitations to high- the best foreign a language film category at Korean cinema was its diversity. In many
profile festivals. Other directors — many of the Oscars. ways it was true, and it was consistent with
whom were very good — had to fight hard to Without any breakout international hits or the experience of foreign viewers sampling

42 KOREAN CINEMA TODAY

 As we are about to enter a new decade,
it does seem that the international film press
has decided which names to emphasize.
In my own mind I think of it
as “3 + 3”.

Korean films. While viewers who wanted some ways these latter three have been more be the case), it could even make it more
to experience Chinese films in the 1990s successful in creating an image of Korean difficult to finance films by directors with
knew exactly where to start (for example, by cinema in the minds of Western viewers. art-house sensibilities, since the prospect
watching Farewell My Concubine or Raise In Asia, where ordinary Korean genre of a high profile festival invitation can
the Red Lantern ), someone trying to become films are exported more widely, there has be a motivating factor for some kinds of
acquainted with Korean films often didn’ been less of a concentrated focus on these investors.
t know this us where to begin. Based on six names. And the situation inside Korea, The gulf between established directors
their viewing preferences, they might end of course, is even more complex. Korean and the rest of the industry is likely to grow
up watching a HONG Sangsoo film, or a critics and audiences keep their ears open wider as the years pass. Whereas Korean
gangster comedy, or KIM Jee-woon's A Tale of for news of interesting films by any director, filmmakers in the late 1990s had a unique
Two Sisters , or a blockbuster like Tae Guk Gi . and even first time filmmakers can establish opportunity to establish their careers (since
Five years later, as we are about to a reputation for themselves quite quickly there were fewer established directors to
enter a new decade, it does seem that the if their film deserves it. But internationally, contend with), young directors today face
international film press has decided which a gulf is opening up between these six an uphill struggle. It's surely not impossible
names to emphasize. In my own mind I established directors, and all these other that in the near future some young director
think of it as “3 + 3”. Three directors who fit filmmakers from Korea. This narrowed may break through and be recognized as
the traditional mold of the arthouse auteur: focus of interest will benefit the small reaching the same level as “the six”. Certainly
LEE Chang-dong, HONG Sangsoo, KIM group (particularly the commercial-leaning there is no lack of talent: a director like LEE
Ki-duk. Although not generally successful directors), and allow their careers to progress Yoon-ki, for example, has created a very
at the box office, their strong reputation faster. It might even help the reputation of distinctive body of work in just a few years
allows them to attract acting talent, and Korean cinema to expand in other countries. since debuting with This Charming Girl in
they usually premiere their films at Cannes, But how will it affect other Korean 2005. With just a single film Breathless ,
Venice or Berlin. In the past couple years, filmmakers? On a basic level, it will be more debut director YANG Ik-june has stirred up
LEE Chang-dong especially seems to have difficult for them to attract the notice of festival buzz similar to that of KIM Ki-duk in
the greatest critical momentum. Then the international press, or to be invited his early career. On a more commercial level,
there are three directors who maintain a to compete at the most prestigious film NA Hong-jin's The Chaser has succeeded to
strong personal style at the same time as festivals. Less publicity means that it might a surprising degree, and many are keeping
they embrace a more commercial style of become even more difficult to sell films by their eyes on this young director. But for
filmmaking: PARK Chan-wook, BONG Joon- lesser-known directors to other territories. the time being, such directors will have to
ho, KIM Jee-woon. These are people who If it becomes clear that the biggest festivals contend with a general cooling of critical
can make a very significant impact at the are only interested in the most established interest in Korean cinema, and the natural
box office, and they are the Korean directors names for their main competition sections human tendency to focus on just a few
most actively courted by Hollywood. In (and in recent years this has seemed to names at the expense of the rest.

july·august 2009 43
 HOT
MOVIE

44 KOREAN CINEMA TODAY

Haeundae
Directed by JK. YOUN
Cast SUL Kyung-gu, HA Ji-won, PARK Joong-hoon, UHM Jung-hwa
Release Date July 23, 2009

What will happen if a huge tsunami rushes upon a large beach in

Busan, where a million people are jampacked during the holiday
season? Haeundae is a disaster film by JK. YOUN who is famous
for his comedy films such as My Boss, My Hero, Sex Is Zero, Crazy
Assassins, and Miracle on 1st Street. Unlike his past films, Haeundae
is a heartwarming story about a group of ordinary people who are
up against devastating natural disaster. You can experience their
desperate struggle for life, and the story of an ocean geologist who
warns the tsunami disaster, or the romance among summer visitors.
However, the most spectacular reason to see this film is the 500-meter
tsunami which is about to swallow Haeundae beach. The special
effects scenes were supervised by Hans UHLIG, whose credits include
The Day After Tomorrow and The Perfect Storm. This blockbuster
film, which is made with Hollywood's sophisticated and elaborate CG
techniques and by infusing Korean human drama, is this summer's
most anticipated film and one of the box office record contender.
Even before release in local market, the film was presold to the U.K.,
Germany, Hong Kong, and 19 other countries.

july·august 2009 45
 Reviews
•Mother •The Pit and the Pendulum •3xFTM
•Lifting King Kong (working title) •Five Senses of Eros •Himalaya, Where the Wind
•Running Turtle •Bandhobi Dwells
•Hello, Stranger •One Step More to the Sea •Thirsty, Thirsty
•Castaway on the Moon •Where Is Ronny… •If You Were Me 4

Mother BONG Joon-ho is not shy about

the task and daringly faces this
for everyone to see. When
Do-jun, a quiet “mentally-
her hands by setting out an
investigation on her own, where
Directed by BONG Joon-ho fate in his new film Mother, in retarded” young man, comes she discovers the truth little by
Cast KIM Hye-ja, WON Bin which a mother fights to prove under suspicion, his mother little, even if it's not what she
Release Date May 28, 2009 her mentally handicapped son's goes to extremes to prove his sought after.
innocence when he is suspected innocence. Since the police The “mother”, imagined
By JANG Byung-won of committing a murder. received a full confession from by BONG and brought to
To the top-notch directors In a rural town, a high Do-jun, the case is considered life by a top actor KIM Hye-
pursuing perfection, the need school girl is brutally murdered closed, and not a single soul ja, is depicted not as an
to give a new stimulus in every and her limp body is hung will stand up to his innocence. icon representing a holy,
new film is just their fate. on a rooftop of a building But she takes the matters into motherly sacrifice, but as an

46 KOREAN CINEMA TODAY

 scene portrays ladies on a tour he has no intention of training
bus having a blast dancing in girls because he's sick and tired
the aisle, almost to the extent of weight lifting, sports and
of insanity, illustrating the people's fixation on winning.
uncontrollable devilishness. However, the girls eventually
KIM Hye-ja's performance that convince LEE to help them
goes back and forth between shape up and become great
the highs and lows of manic athletes and weight lifters.
depressiveness, shows many Since the 2007 box office
faces of tranquility, uneasiness, hit Forever the Moment, which
jealousy, impulses, and chronicled the real life story
murderous intent, is dazzling to of woman's national handball
indulge. team, making a sports movie in
Korea became a real possibility,
incarnation of unfailing belief. unlicensed acupuncture, the even non-popular sports. Lifting
Therefore, Mother is about
the concept of “protection”
body of the junior high school
girl (The Host) is now replaced
Lifting King Kong King Kong(working title) is just
that example, as it is based on
and convoked memory that with the rooftop (as opposed
(working title) a real story about a group of
lied subconsciously, as well to basement) high school Directed by PARK Geon-yong young female weight lifters,
as a fable on a wronged girl's. However, while in his Cast LEE Beom-soo, JO An who in 2000 swept 14 out
belief or a love turned into previous films the key events Release Date July 2, 2009 of 15 gold medals in weight
madness. Although foreign across the plot surrounded lifting at the National Athletic
media compared it to Pedro Korean society's issues, Mother By KIM Hye-seon Competition of Korea. Their real
ALMODOVAR's melodramas focuses on a single character, LEE Ji-bong was once a rising life coach, CHEONG In-young,
dealing with motherhood when thus representing a micro- sports star. He won a bronze died of a brain stroke at the
it was first shown in Cannes, narrative and this requires a medal in weight lifting in 1988 age of 49 and became the
it is actually closer to dark different way to appreciate it. Seoul Olympic Games. But he model for LEE in the movie.
mysteries of David LYNCH. In In a way, it seems like a film was soon forgotten because Despite many similarities to
fact, you may even feel like describing a mysterious air he failed to win the gold, and Forever the Moment, Lifting
Blue Velvet's curious young surrounding a country village. anything less than that did not King Kong(working title) has
Peeping Tom is reincarnated The heterogeneity of elements matter. Furthermore, he was another appealing point: main
as a Korean country lady (as that are seemingly not to go injured during the Olympics characters in the movie are all
evident by her peeping into with each other establishes the and was diagnosed with a heart losers.
another character's love affair main mood: rather surreal golf condition, which forced him Physically adept to be a
by hiding in the closet). course and the isolated places, to retire. years later, he get a weight lifter, Young-ja (JO
BONG mixes up so many the government worker secretly coaching job at a girl's middle An) is an orphan. Yeo-soon
different elements that it trading medicinal herbs from school in the countryside, but is desperate to bring home
almost makes you dizzy: self- China, a high school girl who
reproduction of his own sells herself in exchange of rice,
filmography, many quotes from a narrow-sighted police officer
the works of Hitchcock and who does not carefully see the
Lynch, as well as elements of case through, and so on.
melodrama, mystery, thriller, Although it's easy to highlight
and black comedy are all many elaborately directed
harmonized in this single film. scenes, the opening and closing
In Do-jun, you find the motif scenes, bearing resemblance,
of BAIK Gwang-ho (Memories produce great resonance. In the
of Murder), the unlicensed opening scene, KIM staggeringly
nurse injecting illegal shots walks across a barren field and
(Memories of Murder) turns starts dancing like a maniac. In
into the mother applying a similar fashion, the closing

july·august 2009 47
reviews

a medal for her sick mother. local schools, and their ways vocation by taking bribes every a notorious fugitive finally
Hyun-jung joins the weight of excessively establishing now and then. Probably due begins. Since nobody believes
lifting team after being kicked many sports teams in order to to his less-than-stellar work that CHO witnessed SONG, he
out of the tennis team. Soo-ok, secure more budgets from the ethics and morals, his family decides to go after the fugitive,
a Harvard hopeful, joins the government, add elements of is never well-off. Even with a get his money back and also
team hoping that this sport realism to the contemporary comic book shop managed by win the handsome reward. CHO
might help her enter the Korean society. his wife, CHO's family can't manages to discover SONG's
university. Bo-young has seem to raise the quality of hideout, only to get beaten
nothing but strength and Min- life. One day, he happens to get during the surprise raid. Not
hee is an off-beat character
who thinks the uniform is sexy.
Running Turtle some inside information on a
huge bullfighting contest and
only that SONG cuts off CHO's
pinky and gets away from the
And through the sport, they Directed by LEE Yeon-woo bets all his savings (even his scene. When the incident is
all come to find their own Cast KIM Yoon-suk, wife's secret stash). He hits the reported, CHO gets suspended
identities and values. Even CHOUNG Kyung-ho jackpot, only to get robbed of and is accused of being an
without a shred of talent, they Release Date June 11, 2009 his winnings before he could incompetent officer. Having
overcome their lack of gift with take the money home to his been defeated twice, money
passion and spirit. LEE takes By KIM Hye-sun wife. The next morning, he is not the issue anymore, CHO
care of the girls like his own CHO Phil-sung is a notorious finds himself handcuffed in an wants to square off fairly and
children because he was once policeman in the countryside. alley. When he stumbles back get back his honor as an officer
in their shoes and understand Although he slacks off while on into the station, he realizes that of the law, as a father and a
their difficulties. As a character duty by spending his afternoon he's been had by a dangerous human being. His continuous
LEE has changed drastically at a coffee shop, he's still the fugitive named SONG Ki-tae, efforts to capture SONG end in
from someone who blurted out most popular candidate for who has been hiding out in the failure until he is finally given a
lines like “any effort that does a special guest teacher at his village. chance to redeem himself.
not achieve a gold medal is daughter's elementary school. Thus the grand battle There once was a troika,
pointless." He also takes advantage of his between a rusty detective and leading Korean film industry,
The girls give LEE a nickname
of 'King Kong' because he often
soothes his heart pains with
beating of his chest. And as
such, audience members can feel
the stirring of their hearts when
the girls carry intoxicated LEE
after winning the championship
at the Province Competition, and
when they lift LEE's coffin by
the end of the film, instead of
bearing him on their shoulders.
This film has a number of merits
to make up for the outdated,
conventional narrative. Like the
way the characters overcome
their differences and difficulties,
the sparkling chemistry between
characters and utilization of
unpaved ideas lift this film from
the group of generic sports films
and into the hearts and minds
of those on the edge of their
seats. In addition, reflecting
the competitive reality of

48 KOREAN CINEMA TODAY

consisting of SONG Kang-ho,
SUL Kyung-gu, and CHOI Min-
sik, but somehow KIM Yoon-
suk snuck up and has since
replaced CHOI in that list.
Running Turtle only solidifies
the change by displaying
KIM's tenacious, but emotional
performance. This film is not a
thriller that would accompany
Memories of Murder and The
Chaser. It looks more like a
countryside detective drama
similar to an ordinary TV human
documentary showing mundane
life of an incompetent middle
age police officer. Instead of
playing a charismatic character
like he did in Tazza: The High is followed by a story of Jin- movie, but one that is told independent film cinema is
Rollers and The Chaser, KIM wook, a North Korean defector through intentionally failed maturing. KIM Dong-hyun
takes on a role of a naïve who just finished an orientation journeys. All the characters started his career as an assistant
countryman who eventually program that will help him are off the normal track. Jin- director for BAE Yong-kyoon's
uses his wits to outsmart his adapt South Korean society. wook gets lost in the unfamiliar What is the Reason Why Bodhi-
target. Having witness his During his first night, he gets scenery of Seoul and Hye-jung Dharma Went to the East?
failures over and over again, lost after coming back from a who drives a taxi also can’t find and The People in White. Hello,
when CHO's final counterblow supermarket and gets in the the destination. Taking care Stranger is his second feature
connects with SONG, it gives taxi driven by another defector of Ting-yoon, who is lost in a film made with KOFIC Art Film
audience a long awaited named Hye-jung. The two spend wrong bus, Jin-wook misses Production Support Program,
catharsis. Although the director the entire night trying to find his destination. Thus, this and finally gets a release 2
LEE Yeon-woo made a banal his apartment. The next day, film is elaborately interwoven years after completion. “Living
comedy 2424 (2002), his realistic Jin-wook gets on a bus heading with inevitable roaming as an outsider myself, I do care
direction and cinematography to Busan and comes across and intentional wanderings. about foreigners and isolated
by CHO Yong-kyu (Secret Ting-yoon, a young Vietnamese Encountering of characters on people” and “it gives us huge
Sunshine and Crying Fist) made man who mistakenly gets on the street reminds us of fate. emotional sympathy when
this into a rare breed of heart the same bus when he mixes Like his previous film A Starving seeing foreigners on the screen”
warming drama. up Busan for Buan. Feeling Day, a story about a father of says the director. As if a slice
compassionate for the young a starving family who meets of real life is transported onto
man who came to Korea a compassionate old woman, the screen, the performances of
Hello, Stranger looking for his lover who got
married to a Korean, Jin-wook
KIM portrays the moment of
coincidental encounters among
this film should be noted. For
a film that could easily embark
Directed by KIM Dong-hyun decides to accompany him to people living on the edge. He is on a journey down a darker
Cast PARK In-soo, CHOI Hee-jin the destination. In order to interested in how a miraculous path, the actors bring out real
Release Date June 4, 2009 buy the ticket to Buan, Ting- encounter affects destiny, and sense of humor and vitality to
yoon attempts robbery but gets how hope arises from sharing a the drama. The outstanding
By JANG Byung-won caught. Detective CHOI finds small favor with others. performances of PARK In-soo,
Vietnamese girls in ao-dai out that Ting-yoon is an illegal Following recent exemplary who has been a trained stage
are walking down a rural migrant worker and proceeds independent films like Old actor for 5 years, and Kkang-
street. Responding to a male to prosecute him but the young Partner, Daytime Drinking and soo, a Vietnamese drama
voice, one of the girls turns man's heartbreaking story lets Breathless, Hello, Stranger student currently studying at
and looks at the camera. The him off the hook. is another evidence to prove Korea National University of
foreshadowing opening scene Hello, Stranger is a road that the contemporary Korean Arts, should be mentioned.

july·august 2009 49
reviews

witness the old fashion morphs into something of a

communication methods mystery. Showing the power
(ex. writing, photos, letters) of 'ultimately proliferating
connect islands. The islands of story without a point”, The Pit
the KIMs, seemingly hideouts and the Pendulum is testing
where the two losers, who did a new form of structure for
not have the courage to face storytelling and renovating
the real world head-on, turn the old tradition of narrative
into a whole new nirvana from by blending in many popular
the moment they begin their genres. The multiple perspective
fascinating communication. structure is influenced by Akira
Despite the sorrowful KUROSAWA's Rashomon, and
landscapes of their lives, you the film feels like a transition
may be pleasantly surprised that goes through PARK Chan-
communicate with each other to find this optimistic fantasy wook and HONG Sangsoo and
Castaway in their own way, learning that tides over their utmost onto Quentin TARANTINO.

on the Moon to establish a whole new

relationship.
infelicities. The complex nature of this
Korean Academy of Film Arts
Directed by LEE Hey-jun Likewise, Castaway on graduation project, which had a
Cast JUNG Jae-young the Moon, through these
The Pit and miniscule budget of US $50,000
JUNG Rye-won
Release Date May 14, 2009
two drifting souls, depicts
in a second- hand way how
the Pendulum and 25 shooting day, makes it
difficult to explain the vision it
deprived and barren the real Directed by SON Young-seong aspires for. Director SON Young-
By JANG Byung-won world we’re living can be. Both Cast KIM Tae-hoon, sung audaciously steals and
LEE Hey-jun, who showed KIMs are extremely isolated: PARK Byung-eun sews scenes from other films
off his prowess with his the male KIM, stigmatized Release Date June 18, 2009 and results in a never-seen-
debut feature Like a Virgin, with incompetency and before hybrid film that blends
came back with his second insolvency, while the female By JANG Byung-won melodrama, comedy, mystery,
feature film Castaway on the KIM is indulged in a ghostly A group of friends at a funeral and horror. SON explains the
Moon. It proves that people's life confined to cyberspace. recollects memories of a friend, concept, which cannot be
expectations on him are not a In this sense, the island where Sang-tae. Everyone has an adequately described by a word
mere lip service. KIM is found adrift stands anecdote to tell and often or phrase: “if you excavate a
KIM, who is cornered by as a metaphorical space times their stories overlap. As cave, you expect to encounter a
merciless loan sharks, throws representing contemporary one anecdote triggers another, lake. Instead, you will encounter
himself into the Han-gang peoples’ fate: no hope and no the story of their mutual a cliff in this film”. Although
river in an attempt to commit place to settle down. Society friend sidesteps endlessly and there are some drawbacks,
suicide. He somehow survives alienates and excludes them, in the end Sang-tae's story such as unsolved narrative
the attempt and drifts away to not allowing them to lead even
a small island on the river. The miserable lives. The only places
one who discovers him on the permitted to those drifting
little island in the middle of a souls are a desert island or a
metropolitan Seoul turns out messy room.
to be another KIM, a girl who This film shows a surprisingly
refuses any connection with fresh approach by overthrowing
the rest of the world and never the paradigm that is prevalent
ventured out of her bedroom in our time where artificial
for years in a condominium networks, such as cell phones
building overlooking the river. and the internet, control
The two KIMs, disconnected communication. In a situation
from the outside world build where telecommunication
their own micro-universes and networking is disabled, you

50 KOREAN CINEMA TODAY

devices and a highly self- been mourning for the wife.
consciousness and banal theme YU Young-sik's 33rd Man is a
on the subjectivity of truth, an comic horror fantasy which
aspiring vision for renovating takes place on the set of a
the cinematic narrative should horror film, where a veteran
be highlighted. actress makes a rookie actress
to seduce the director because
he is too demanding. And In
Five Senses of the End is My Beginning by
Eros MIN Kyu-dong is a fantasy
about a woman's desperation,
Directed by Daniel H. BYUN, resignation and understanding
HUR Jin-ho, YU Young-sik, who has come to live together
MIN Kyu-dong, OH Ki-hwan with her deceased husband's
Cast JANG Hyuk, CHA Hyun- girlfriend. Finally, OH Ki-hwan's step further to 'open hearts'
jung, KIM Gang-woo, CHA Soo-
yeon, BAE Jong-ok, KIM Su-
One Fine Day is a story about
three teenage couples who
Bandhobi between an migrant worker and
a high school girl, two people
ro, KIM Min-sun, UHM Jung- decide to swap partners for a Directed by SHIN Dong-il who come to connect with
hwa, HWANG Jung-min, KIM day in order to prove their love Cast Mabub ALAM, each other. The role of Karim
Hyo-jin, KIM Dong-wook, SHIN for one another. BAEK Jin-hui is played by Mabub ALAM, a
Se-kyung, JUNG Eui-chul, LEE Five Senses of Eros is Release Date June 25, 2009 media activist and executive
Sung-min, SONG Joong-ki influeced by the erotic theme commissioner of the Migrant
Release Date July 9, 2009 of 2007 Ang LEE film Lust, By SONG Soon-jin Workers’ Film Festival, while
Caution, with a low-budget of Min-suh, a high school girl a 20-year old new face BAEK
By SONG Soon-jin approximately US $800,000. whose summer vacation has just Jin-hui plays the part of the
Five Senses of Eros is an The new faces as well as well- started, encounters Karim, an rebellious high school girl Min-
omnibus film based on the known, experienced stars like migrant laborer from Bangladesh suh. The film was shot during
theme of ‘eros’, directed by five BAE Jong-ok are brought on a bus ride. Karim drops his the heated waves of candlelight
leading directors. His Concern together in this film. Each wallet and Min-suh gets busted vigils against government's
by Daniel H. BYUN follows the episode deals with human's when she picks it up and tries agreement to bring in American
monologue of a white collar natural desire, whether it be to steal it. To straighten things beef, which swept through
worker attracted to a woman homo or heterosexual, based on out, she promises to help Karim South Korea in May 2008. Min-
who happened to sit in front of ‘eros’ filtered by each director's on his quest to track down his suh, who wears a 'candlelight-
him in a train. HUR Jin-ho's vision. Enjoying short films of ex-boss, who has been evading vigil-girl' pin on her chest, is
Me, I’m Here tells a story such popular directors like HUR paying off his salary. Min-suh, also modeled on spunky teens
about a wife's soul which and MIN is also one of the main who at first feels uneasy refusing the nation's much-
visits her husband who has attractions of this film. keeping him company, begins debated educational system.
to feel sympathetic for him Thanks to such attention to
little by little as she notices details, SHIN's unique black
how he gets hurt by double comedy criticizing the society
standards towards white-skinned feels even more noticeable and
foreigners and migrant laborers. authentic. In a pleasant and
Bandhobi, which means perky way, SHIN brings out
girlfriend in Bengali—in the his sarcasm towards Koreans
film it is used as “friend”— in minor details that one
represents director SHIN Dong- could easily miss, including
il‘s third feature film following mini buses from after school
Host & Guest and My Friend academies in the background,
& His Wife. SHIN, who talked contents displayed on computer
about establishing relationships monitors, and newspapers on
between strangers, takes a coffee tables.

july·august 2009 51
reviews

an old villa as backdrop and unexpectedly and beats up documentary film made by
One Step More using time-forgotten items In-ho with a single swift blow. “Pinks” - cultural activists

to the Sea like handmade clay dolls. The

mother and daughter are played
In-ho, crushed with humiliation,
launches a feverish search for
collective for sexual minorities.
This documentary film has
Directed by CHE Ji-young by PARK Ji-young, a veteran Ronny in an attempt to get his won a number of prizes,
Cast PARK Ji-young, KIM Ye-ri, actress who is better known for pride back. During his search, including Documentary
KIM Young-jae her roles on TV screens in Korea, In-ho comes across another Ock Rang Award at the 10th
Release Date May 21, 2009 and KIM Ye-ri, a fresh face who immigrant laborer, Tuheen, who International Women's Film
will star in PARK Chan-ok's next agrees to help look for Ronny. Festival in Seoul and the
film Paju. One Step More to the However, Tuheen leads him on Best Film Award at Seoul
Sea is the second collaboration a journey that allows In-ho Independent Film Festival. This
between cable TV channel MBC to understand that foreign documentary deals with stories
Drama Net and representative laborers, whom he has always of so-called 3 FTMs (Female
independent cinema distributor despised and thought very little to(ward) Male) who underwent
INDIESTORY, following of, are also human beings just gender transformation from
Fantastic Parasuicides in 2007. like himself. This buddy movie female to male. While these
focuses on the bleak and biased three individuals have a
view towards immigrants deeply common in gaining their new
Where Is Ronny… embedded in Korean society.
Through In-ho, this heart-
sexual identity, the reasons
for abandoning their former
Directed by SIM Sang-kook warming film shows how such selves are all different. “To” or
By SONG Soon-jin Cast YU Jun-sang, Robin prejudice is unfounded and how “Toward” shown in the title
High school student Won-u SHEAK, KEY Ju-bong these underprivileged people is the result of the political
suffers from lethargy and Release Date June 4, 2009 can become good neighbors decisions as one underwent
periodically falls asleep during and friends when you choose this process “to male” and
class and even on the streets. to open up and accept them. another did it “toward male”.
Her mother Yeon-hee can’t stop Apart from SIM Sang-kook's Thus, this documentary
worrying about her daughter. direction—experienced as well delicately examines the
Won-u feels she is becoming a as refined, not expected from aspects of accepting the topic
burden not only to her family a debutant—the two main of transsexual by revealing
but also to her friends at characters’ (played by YU Jun- the subtle differences of
school. But with the help of sang and Robin SHEAK) well- attitudes and thoughts those
a boy from her class, Won-u matched harmony is evident three have. The virtues of
begins opening up and feels throughout the film. this documentary area steady
more positive about herself. attitude to reach the core
Yeon-hee too feels consolation of the subject matter and
from a photographer, who
works in the same building.
3xFTM ultimate affection contained
within, rather than focusing
Direcetor CHE Ji-young had By CHOI Kwang-hee Directed by KIM Il-lan on a serious social matter
gathered much attention in Taekwondo master In-ho is Cast KO Joong-woo, or accomplishing cinematic
2005 from several international forced to participate in a KIM Myung-jin, HAN MOO-ji achievement. Through their
film festivals with his short film crackdown organized by the Release Date June 4, 2009 interviews and portrayals of
Stand By Me, a story about a neighborhood merchants’ daily lives, 3xFTM steadily
mother and her daughter. One association on a street vendor excavates the multi-layers
Step More to the Sea is his named Ronny, an immigrant containing sufferings of
feature debut, another story laborer from Bangladesh. the sexual minorities living
about love and hate among Later, while demonstrating in sexually oppressed and
3 generations of women. Taekwondo at an event to unjust society. Ultimately it
He completes this family/ promote his ailing academy, is a journey in search of true
adolescent film of warm and he comes face to face with By JANG Byung-won meaning of life and a matter
simple senses by choosing Ronny, who has showed up 3xFTM is an independent of social responsibility.

52 KOREAN CINEMA TODAY

 village deep in the mountains he himself is deep in financial By KIM Su-yeon

Himalaya, Where of Nepal, CHOI packs his bag troubles, he recklessly lends her National Human Rights

the Wind Dwells without thinking further. Then

he walks absentmindedly in suits
money. The situation became
an ironical comedy that's not
Commission presents its fourth
If You Were Me installment,
Directed by JEON Soo-il and dress shoes until he reaches funny at all. Even though the omnibus project that
Cast CHOI Min-sik Zarkot at 3,350m above sea level every character in Thirsty, began in 2002. This time the
Release Date June 11, 2009 right at the foot of snowy peaks Thirsty leads a tough life, they film discusses human rights of
of the Himalayas. Only after a are stubbornly strong. They young adults from the ages of
series of hardships does he meet struggle and fight so that they 13 to 18. Children of modern
Dorji's family but CHOI does not will somehow survive through days are seen through the
have the heart to hand the urn this vicious food chain. Thus, eyes of 5 directors: some are
to these innocent people. Tired Chang-sik sings the song mentally stressed because of
and exhausted, CHOI falls ill. ‘Mul Jom Juso(Give me some school grades (Blue Birds on
Along the magnificent ridge of water)’ to console Seon-ju, a the Desk, directed by PANG
the Himalayas covered in clouds gesture with much meanings Eun-jin), or leave the country
and embraced by the wind, there and insights. The director's against their will to study (U
stands wretched CHOI, with a true intention and message are and Me, directed by JEON Kye-
small peace in mind. Looking compressed into that scene, soo). Some have to face the
back, there is a moment that is of trying to shower their dry, problem of raising a child as
By KIM Su-yeon painful, but at the same time rough life with some hope. teenage mom (Relay, directed
Himalaya, Where the Wind touched with silent wind, and The film is a debut work of by LEE Hyeon-seung), while
Dwells is the newest film that is when the charms of life HONG Hyeon-gi who has worked others are discriminated just
by JEON Soo-il, the director and the actor CHOI Min-sik are on assistant director of director because one of her family
of With a Girl of Black Soil. once again confirmed. LEE Chang-dong in Peppermint members is a foreigner (Girl on
However, it seems the spotlight Candy and Oasis. HONG has the Run, directed by KIM Tae-
is on CHOI Min-sik, as this is also received the Best Director yong). Chatter of the children
his first film in four years since
Sympathy for Lady Vengeance.
Thirsty, Thirsty Award in ‘Asian New Talent
Award’ category at last year's
who have already realized
the barrier of reality as the
His character CHOI can almost Directed by HONG Hyeon-gi 11th Shanghai International Film deprived generation with high
be described as the actor Cast LEE Du-il, Festival with this film. unemployment rate (The Theory
himself. In the movie, CHOI, RYOO Hyeon-kyeong & Practice of Teenage Drama,
who's been going through a Release Date June 4, 2009 directed by YOON Seong-
long period of slump, struggles
through a 5-week journey in
If You Were Me 4 ho), is bitter yet significant.
Among the episodes, it was
the Himalayas, hidden away Directed by PANG Eun-jin, Girl on the Run that earned
from the outside world. The JEON Kye-soo, LEE Hyeon- the most support. The episode
journey in itself appears to be seung, YOON Seong-ho, KIM tells the story of Cha-eun, a
a process to confirm something Tae-yong girl who dreams of becoming
by pushing himself to the limits. Cast PARK Bo-young, MOON a track athlete, and how she
There is not one moment that Sung-keun, JUNG Yu-mi, SUNG grows little by little through
does not seem so in the movie. By KIM Su-yeon Ji-ru, OH Jee-hye the relationship with her
CHOI (CHOI Min-sik) is a Chang-sik became a debt Release Date June 11, 2009 Filipino stepmom. Followed by
43-year old father whose collector in order to pay back his previous film Family Ties,
family lives abroad, a lonely his own debt. He dreams of director KIM Tae-yong attempts
man with not much joy in his becoming the ‘King of debt to make fundamental study on
life. Perhaps that is why he collector’, but reality is not so family, and further more the
volunteers to deliver the remains bright. He is not only the worst relationship between humans.
of a Nepalese young man Dorji, of the debt collectors but he His meticulous observation
who died in an accident at sympathizes and helps one of on the truthfulness of
the factory of CHOI's brother. his debtors: a 20-something communication and relationship
To get to Zarkot, Dorji's home single mother Seon-ju. Though is indeed remarkable.

july·august 2009 53
Masters of Korean cinema 2

YU Hyun-mok,
A Great Formalist
This series introduces masters who have greatly influenced
Korean film history. In this issue, we look over the life and works of
director YU Hyun-mok, who passed away on June 28.

By KIM Young-jin abstract statement came out in the midst Korean films were still trapped within the
Counted as a pioneer of modern Korean of a conversation he had with the late film imperatives of storytelling, YU's motto of
cinema, director YU Hyun-mok passed away history scholar and critic LEE Young-il. ‘thinking in images’ explains his stance in
on June 28, 2009. During his life time, he Looking back, LEE said that he had had Korean film history as practically the only
left a famous quote, “I don’t think with difficulty understanding, but decided to take director to make modern Korean films. Of
logic. I think with images.” This somewhat YU's words at face value. At a time when course, YU Hyun-mok wasn’t the only one

Director Yu Hyun-mok (1925~2009)

54 KOREAN CINEMA TODAY

 Crossroad Forever With You

who had such thoughts in the 1960s. There Later on, I had the chance to see it as A Beautiful Woman (1959) and Even the
was KIM Ki-Young. While KIM started with a movie. It was after Korea's liberation Clouds are Drifting (1959), all differed in
stage plays and shifted to films to pioneer from Japanese occupation in 1945 when levels of quality and cannot be tied together
an unrivaled level of expressing mise-en- I belatedly saw Pierre Chenal's 1935 film as a particular disposition. Even so, YU
scene, YU Hyun-mok established a unique Crime and Punishment . I went crazy about was completing the nature of his films by
method of expressing montage. YU's style it. The reason why I went crazy was because revealing a strong self-consciousness about
of putting montage in the foreground was there was a difference between the image style and form compared to other Korean
unheard of in the early 1960s Korean film written in the text and the image in visuals directors of his era.
scene. He was a rare artist who stood out on the screen. I was so infatuated by that
from Korea's pre-modern production system film that I saw it 14 times.” An Ill-fortuned Masterpiece -
in which similar films featuring star actors Unable to find a teacher to teach him Aimless Bullet
were made according to the demands of about cinema, he read books at the library It was with Aimless Bullet , YU Hyun-mok's
local distributors. on Russian montage translated into most representative work that he began
Japanese, and when he went to movie to add what could be called the spirit of
“I think with images.” theaters he watched films repeatedly until the times onto formalist consciousness.
Born in Sariwon, Hwanghae Province in he memorized a film's continuity. Such YU himself had admitted he had made the
1925, YU Hyun-mok grew up in a rich experiences as a cinephile gave him the film with neo-realism in mind: “When I
family. When the Korean War broke out, his conviction that form can, in effect, become went down to Busan as a refugee during
home was broken to pieces. YU was bereaved theme. As a young cinephile in the 1950s, the Korean War, I was moved when I saw
of family members and his social standing YU thought about visual expression more The Bicycle Thief for the first time. I was so
crashed in a flash. The trauma he suffered sensitively than anyone else, and from mesmerized by the movie that I almost fell
from war followed him all his life. As his the early days left in his films a signature into a ditch in the road as I left the theater.
mother was a devout Christian, he too was distinctive from other directors of his time. Since then, I’ve been interested in Italian
a believer of the Christian faith, but did not His first movie The Crossroad (1956) was neo-realism and seen many movies as well.
go to church. Salvation in life was a mystery about twin sisters who live different lives I was influenced by that too.” Of course, it
unsolved for him. Like director Ingmar three years after the war has ended. It gives would be foolish to compare Aimless Bullet
Bergman, YU Hyun-mok too questioned the impression that the film concentrates in parallel with the neo-realism trend that
the existence of God's touch of salvation in more on the montage that goes back and shot movies with nonprofessional actors on
this world. Films were a route through which forth between the stories of the two sisters the streets to express the life of post-war
he tried to work this out. From the time he than on telling the story itself. His works Italian society. In reality, if you look away
was a boy, YU was an intense film fanatic. that followed like The Sadness of Heredity from the aspect of subject matter, the style
“When I was young, I was fascinated by (1956), The Lost Youth (1957), Forever With of Aimless Bullet does not even resemble
Dostoevsky's novel ‘Crime and Punishment’. You (1958), The Seizure of Life (1958), neo-realism.

july·august 2009 55
Masters of Korean cinema 2

Aimless Bullet The Martyrs The Empty Dream

The movie was made right after the 4.19 is everything. YU says that when he read saliva; when Cheol-ho's younger brother
revolution (April 19,1960), borne on the LEE Beom-seon's original short story, he Young-ho robs a bank, the camera watches
atmosphere of democratization in society, decided he had to make this film no matter the situation from outside on the street;
but soon after its premiere in April 1961, the what. In the latter half of the film, after consistently capturing most of the situations
5.16 coup d’etat (May 16, 1961) occurred the extraction of his troublesome tooth, in frame compositions that look imprisoned,
and the film was banned from exhibition. the camera watches KIM Jin-kyu's face at YU's direction was like a declaration that he
The movie that seemed to be born with an an angle of elevation as he spits bloody could not find salvation in Korea's reality
ill-fortuned fate later came to be thought of of that era. And then YU concludes the
in Korean film history as valuable as Orson situation with an existentialistic nihility.
Welles’ Citizen Kane . The protagonist Caught stealing, Young-ho says to his
Cheol-ho works as a legal manager, but on He was essentially brother Cheol-ho when he comes to visit
his measly salary, his family can barely feed
themselves. He suffers from toothache, but
a formalist. Great him at the police station, “To prevent such
things from happening in the future, I just
can’t go to a dentist - because he has no form maintains hope they will stand me at the center of that
money. Without a single hope in the world, the vitality of crossroads and hang me. On that day, I hope
each member of his family is faced with the
worst situation possible. Although YU Hyun-
a work. It can’t be there will be many spectators.“ This line was
taken from Camus’ novel The Stranger .
mok claimed he was sufficiently conscious said that YU Hyun- YU's search for the meaning of Christian
of neo-realism, what's revealed in the movie mok perfected the salvation continues in films like The
is his strong formalistic inclination towards
montage. There are a total of 18 long shots
form of Korean films. Martyrs (1965) or Son of a Man (1979).
The Martyrs shows the influence of Robert
in Aimless Bullet and merely three close- Bresson's Diary of a Country Priest and
ups, and most of the situations are narrated Ingmar Bergman's The Seventh Seal , but
with medium-size shots. It is screen size rather than advancing to a level where
often used by Howard Hawks that should concept becomes physical, the film gives the
be considered suitable for a classical view, impression that it is buried in concept. More
but by placing characters and objects with importantly, another characteristic of the
direction emphasizing depth in every space state of YU's films is his abiding interest in
on screen, YU serves up the tragedy of post- the trends of experimental films. Occupying
war Korean society in multiple layers. a unique position even today, his peculiar
Prominent in Aimless Bullet is a conscious- work The Empty Dream (1965) can be
ness of objet emphasized to the extremes called the first avant-garde film in Korean
on the other side of situation narratives. film history where until then no tradition
While visual symbols suggesting the absence of experimental films had existed. As the
of Christian salvation flood the screen, YU movie begins images of treatment given
Hyun-mok's will as an auteur protrudes, in a dentist's office flow as fast montage.
asserting that the story is not the only When a young man sitting in a dental chair
Aimless Bullet
important factor, what is seen on screen falls asleep after he is anesthetized, the

56 KOREAN CINEMA TODAY

 School Excursion Rainy Day Flame

film lapses into a world of fantasy. Images unquestionable, this sort of modern solution rights to only a few film companies and
that seemed to be influenced from Alfred was somewhat provocative. granted foreign film import quotas to those
Hitchcock's Spellbound (1945) unfold, and In YU Hyun-mok's film with the most companies that made outstanding Korean
film fully flows into the territory of fantasy. popular appeal, School Excursion (1969), YU films. With this policy, Korean films were
A feast of images that are like a variation also shows a pessimistic view on the belief reduced to mere tools for importing foreign
on German expressionism is repeated in the of the day that equated modernization with movies. Ironically, for directors like YU Hyun-
movie, which was made during the time YU's westernization. Starring popular comedian mok who made movies that held no popular
will as an auteur was in full bloom. After KU Bong-seo as a school teacher in a elements for the box office, this system
that, YU Hyun-mok gradually became an remote island, the film shows children from provided a way to continue making films.
unwelcome person in Korea's movie scene. the country coming to Seoul and putting The producers’ belief that YU Hyun-mok
on a show in the course. The family that would make a dignified film, whatever the
A Dark Vision of the Myth invited the children is of the wealthiest class. subject, became the foundation for films like
of Modernization Looking around the house equipped with Rainy Days , Once Upon a Long Time Ago ,
From time to time, YU Hyun-mok reluc- gas stove, washing machine and a piano, The Door , and Flame coming out into the
tantly made commercial movies by request the children are discouraged. When a child world.
from producers. What is interesting is that in the film worries, “I was hoping to become After the 1980s, films made by YU
although YU himself decried these films, a maid when I came to Seoul, but that Hyun-mok rarely made it into the world.
their level of accomplishment was very high. won't happen with all these machines,” the As a professor at Dongguk University, he
Made at a time when comedies were popular, mother of a Seoul child promises, “If you was devoted to teaching his students and
Three Hen-pecked Generations (1967) was come work for us after graduation, I will accepted the fate of his discord with the
a commercial success, and at the same time send you to night school.” Instead of hoping Korean film industry's pre-modern system
interestingly portrays Korean society of that to succeed one day and live in a house like and the tragedy of contemporary Korean
time in a different context from his other that, the child saying they probably won't history. Afterwards, in interviews he gave
serious movies. The movie deals with the be able to work as a maid in such a house from time to time, YU Hyun-mok expressed
uproarious drama created when the men of shows through irony YU's dark vision of a regret about the conditions in which he
three generations, dominated by the women future utopia promised by the government's could not unfold his cinematic vision on a
as implied in the title, try to obtain power in modernization project at the time. full scale. After 1995, with Mom, the Star
the family of the old couple of GONG Sa-dal Another route that made it possible for YU and the Sea Anemone becoming his last,
and his wife, eldest son Chi-san who's a Hyun-mok to survive in Korean film history YU Hyun-mok was never to make another
salary man and his wife, and grandson Jin- was through the genre dubbed ‘literary film’. film. His works are always remembered as
ho who is a train driver – all living under one Speaking of works adapted from novels, films with heavy themes rather than for
roof. After a big fight, the family meets at a literary film was a very important genre their form. However, he was essentially a
western-style restaurant and finds a solution. from the mid-1960s in Korean film history formalist. Great form maintains the vitality
Surprisingly enough, they come to the con- and was a major criteria considered by the of a work. It can’t be said that YU Hyun-
clusion that it is best that each branch of government when deciding which film mok perfected the form of Korean films.
the family should break off and make their should be awarded as outstanding. From However, it can be said that his films
own household. Back in a time when the the 1970s, the government implemented a revealed a formalistic quest more sensitive
virtue of a traditional large family was policy that gave monopolistic production than anyone else's.

july·august 2009 57
from the editor

in search of
cultural union
I am sorry to confess that there had been an embarrassing argument strong feelings against the setting of the work, raising examples
recently over the internet in Korea. It was about how Bandhobi of sexual crimes committed by a small number of illegal migrants.
would be introduced in this issue. The film about friendship and It is rather obvious their view is based on prejudice towards these
romance between a migrant worker from Bangladesh and Korean migrant workers.
high school girl was criticized by some nationalistic conservatives We raises the issue of ‘international co-production’ and covers
that it is ‘applauding illegal migrants’. It wouldn’t have become a various discussions regarding the theme. Co-production between
big issue if it had remained as a criticism, but they began to petition many countries is relatively common in the West, yet it is true that
through online portal sites asking to stop production and screening co-production among East Asian countries has many obstacles
of the film, and distributed absurd parody images made from the to overcome. In particular, due to special historical circumstances
film's PR still cuts. Korea, China and Japan were in, there are still unsolved emotions
At the moment, it is estimated that there are more than among the three countries. For such reasons, they are very close
one million foreigners living in Korea. They range emotionally, yet infinitely distant at the same time.
from ethnic Koreans from China, and those from Perhaps that is why many films that tried emotional
Southeast Asia like Bangladesh, Pakistan or unions through personal exchanges of directors
the Philippines. Number of immigrants who or actors and not just consortium of funding
settled in Korea by marrying a Korean had failed to succeed in the market.
citizen has exceeded 140 thousand. It Even so, international co-production is a
is more than 2% of the entire Korean very important issue in terms of industrial
population. Korea, a country that once interest of market expansion. There are
identified itself as ethnic homogeneity is still numerous Korean producers who
definitely transforming into a multi-cultural long to create new opportunities through
society in breakneck speed. Thus political co-production across the border.
campaigns are being made to promote an International co-production has its
open attitude towards other country's cultures. importance not just because of the market
On the other hand, with number of foreign but also in a cultural sense. Through attempts
residents, conflict factors are increasing within Korean that overcome the nationality of the film, it becomes
society. Most of all, economic depression is instigating the angry possible to promote mutual understanding as well as emotional
voice blaming increase of illegal migrants for taking jobs away union and dialogue. Especially the area like East Asia that has deep
from native citizens. Out right discrimination and attitudes looking historical scars, bonding through film becomes more earnestly
down on them are not going away either. There are also cases where needed. As Korea transforms into a multi-cultural society, it will
countless Korean entrepreneurs take advantage of migrant workers’ be more desirable to elevate accessibility to other cultures through
poor conditions and steal their payment in the middle. international co-production and create more opportunities to
Fortunately enough, recent Korean independent films are internalize open mind and view.
actively displaying critical attitude towards such reality: Bandhobi It is true that different emotions, languages, and ancient social
mentioned earlier and Hello, Stranger and Where is Ronny… are all systems are still blocking the road to an active field of international
films that show out front immigrant laborers as the ‘other one’ in co-production. Through many trials and errors, effort to overcome
Korean society. These films illustrate Korea's reality at times sharply everything still does not stop. It is a sign that shows there are
and at times with humor, the reality where the nation is moving artists out there strong and well, still believing in the potential of
towards a multi-cultural society while the public still obsesses with film as the medium of cultural communication.
blood-ties and remains to be conservative.
Even so, it seems exclusive attitude Korean society has towards
the outsiders won’t easily change otherwise. Fierce criticisms from
some towards Bandhobi is a proof. The opposing group is showing CHOI Kwang-hee, Editor-in-chief

58 KOREAN CINEMA TODAY