蹂몃Ц 諛붾줈媛湲 硫붾돱 諛붾줈媛湲
Memu

23rd Busan
International Film Festival

Screening Venue
5THEATERS
30SCREEN

  • Busan Cinema Center
  • LOTTE CINEMA Centum City
  • CGV Centum City
  • MEGABOX Haeundae
  • Dongseo University Sohyang Theater

 

Screening
79countries
324films

140 World & International Premieres

  • 115 World Premieres (85 Feature Films, 30 Short Films)
  • 25 International Premieres (24 Feature Films, 1 Short Films)
  • All New Currents screenings are World Premieres

 

BIFF Main Event

Audience Meet-and-Greet

This event is an outdoor greeting event that allows the audience to exchange and share ideas with guests.

Open Talk

The event allows audiences to interact with the guests from the most issue-marking films on the Outdoor Stage at the Dureraum Square, Busan Cinema Center. It will serve as a global meeting place for filmmakers and actors/actresses.

Hand Printing

Busan International Film Festival will hold the Hand Printing events with 3 selected film professionals on the Outdoor Stage at the BIFF Village, Haeundae. The Hand Printing event celebrates a cineaste's work and is equivalent to a lifetime achieve-ment award.

Master Class

Each year offers an opportunity to take a closer look at the film mas-ter's lives and thir works. This year's master is Oliver stone, one of the most influential filmmakers in the world.

Meet the Guest: Talk to Talk

Guests who are visiting Busan gather under a film and/or theme, and share their thoughts and experience with audience.

Platform Busan

Platform BUSAN Badges are for independent filmmakers and industry professionals based in Asia (Production, Finance, Marketing, Sales, Distribution). You can apply for this badge if you have participated in short film and/or feature film project(s).

VR BIFF in Cinema

Virtual reality technology merged into film will expand your horizon with an eye-open experience! come and witness VR Cinema's leading edge for a new cinematic experience.

Overview

  • Retract the Boycott and Revival of the Film Festival

    The Busan International Film Festival, which had struggled with political issues over the past few years, has been revived with the reinstatement of Lee Yong-kwan as the executive director and Jay Jeon as the festival director this year. After the reinstatement of the heads of the festival, organizations that boycotted the festival have been retracted. The mayor of Busan has been to Seoul to apologize for past problems and encourage cineasts to participate in the festival. Finally, the festival, which has had to deal with distractions for 4 years, will be fully reinstated as a place where cineasts and audiences get together.

  • Communities

    The Busan International Film Festival will launch its various events in Nampo-dong, connected with film communities in Busan, to promote audience participation. The events will be the first step of the Busan International Film Festival웧 vision and expanded connection with the local communities. The festival is engaged through a co-agreement with 5 organizations such as the Busan Museum of Movies, The Corner Theater, Funnycon, Busan International Kids & Youth Film Festival, and Community Media Foundation. The organizations will consign programs, which will be on the process during the festival period. The Busan International Film Festival will promote BIFF Square in Nampo-dong and facilitate the accessibility to civic culture. The festival will introduce various programs that audiences can participate in.

  • Asian Independent Film Network A Successful Launch of Platform Busan and New Challenges

    Platform Busan, launched as an Asian independent filmmakers network last year, creates a platform for outstanding output by numerous participants and filmmakers, independent cineasts from different regions, and parties involved in prestigious international film festivals. Platform Busan has been created as a program to establish and foster the identity of the Busan International Film Festival as a hub of Asian cinema. Platform Busan will mainly focus on communicating and sharing experiences for Asian independent filmmakers. It will also provide a production field helpful for independent filmmakers and programs to prepare for volatility in the film industry as well as arrange meetings between filmmakers and producers from Europe.

  • Expansion of Asian Film Market Where Dealing With Korean and Asian Contents

    Asian Film Market has expanded the range of the E-IP Market, selecting Korean content in a wide range and its extent to Asia. It reflects numerous parties involved in film industry that look for new content that is adaptable to visualization. The market promotes its business by introducing 30 original types of content, based on books in Japan and China as well as inviting more domestic and international parties involved in the broadcasting industry. The Korea Creative Content Agency will showcase and screen broadcast content. Korea Manhwa Contents Agency will also hold a new web-comic pitching and a seminar. Based on this year웧 achievement, the Asian Film Market will be a competitive and leading marketplace where the Korea Creative Content Agency, Korean Film Council, and the Busan International Film Festival will cooperate together as of 2019.

  • Considering the Past, Present, and Future of the Festival - Launch of the Busan Classics Section

    The Busan International Film Festival launches a new section called Busan Classics this year. Busan Classics introduces valuable films by masters who will remain eternal in film history, films required to be reviewed in another perspective, and the restoration of masterpieces in order to focus on artistic achievement and historical values in films. The Korean Cinema Retrospective - The Pioneer of 1980웧 Realism: LEE Jang-ho and Special Program in Focus, Centennial Anniversary of the Philippine Cinema - Cinema as a response to the nation will be opportunities for expecting the future of Asian films based on experiencing the past and present of Asian cinema.

Programming Trend

  • Asia

    This year웧 Asian Programming at the Busan International Film Festival hopes to achieve two important goals. First, the festival will reflect the achievements and dynamics shown by fast growing Asian countries. Second, the festival will support artists in developing countries by discovering young Asian talent. This year웧 program adequately reflects the industrial flows and trends in Asian cinema. It is not appropriate to view and evaluate Asian cinema based on only a few standards; however, it will be an interesting year by undiminishing film masters and rising stars. Young Asian filmmakers have especially shown notable achievements in many of major film festivals throughout the world. Asian artists who are still going through some struggles in a small independent film industry have also shown a constant passion to be honest to their own philosophy of art. A list of Asian selections at this year웧 Busan International Film Festival indicates its richness, quantitatively as well as qualitatively. The number of selected films has significantly grown due to increased numbers of short works and documentaries. Regional grouping indicates that, Chinese, Japanese, and Indian cinema still show their traditional power; however, new attention should be paid to Central and Southwest Asian cinema (which Busan International Film Festival has shown its constant interest in over the past few years).

  • Trends in Chinese and Japanese Cinema, Diversity in Industry and Undiminishing Independent Cinema

    Chinese Cinema, which includes mainland China (their film industry has already reached the level of world웧 best), Taiwan, and Hong Kong, has kept its balance by introducing the latest works from film masters and discovering new talent over the past 20 years. Many Chinese film masters have shown their latest works this year, and the festival will introduce the newest works by Zhang Yimou and Jia Zhangke. Taiwanese filmmaker Tsai Ming-Liang웧 latest work and representative Hong Kong filmmaker Stanley Kwan웧 work will also screen at the festival this year. Meanwhile, two films capture a modern China which corresponds to the fast growing Chinese economy: Dying to Survive (Wen Muye웧 feature film debut, which had a huge success at Chinese box office) and The Island. Films that challenge industrial traditions and successfully increase diversity in cinema are notable enough not to miss. Plus, Wang Xiaoshuai웧 documentary film CHINESE PORTRAIT and Wang Bing웧 Dead Souls are two works that surpass the expectations of cinephiles. The Busan International Film Festival has high expectations for its lineup of Japanese cinema this year. The festival focuses on showing diverse Japanese works (not just the most anticipated films, but also the films directed by new filmmakers) to break the stereotypes of Japanese cinema. Regardless of film masters for rising stars, many of the selected films deal with issues that surround 엓ife and death. In addition, Zeze Takahisa웧 The Chrysanthemum and the Guillotine tells a unique story of female sumo wrestlers in the age of chaos, a hundred years ago. Japan has traditionally concentrated on working with domestic productions, but they have recently started to initiate co-production works with various countries. For example, Kawase Naomi웧 Vision is a co-production work between Japan and France. Other than that, Chikaura Kei웧 Complicity (China) and Fukada Koji웧 The Man From the Sea (Indonesia) have also contributed to increased diversity in Japanese cinema. The Busan International Film Festival has shown constant interest in Japanese animation that continues throughout this year. An acclaimed Japanese composer Ryuichi Sakamoto composed the musical score for an animated feature My TYRANO: Together, Forever (directed by Shizuno Kobun) will premiere at the festival. Last, Hosoda Mamoru웧 MIRAI and Penguin Highway (directed by Ishida Hiroyasu) meet the expectations of Korean film fans.

  • Trend of Southwest Asia and Central Asia, New Films and New Artists

    The appearance of new artists, fresh and new from India and Southwest Asia means there are always some challenging and adventurous works from new countries like Sri Lanka, Nepal, and Bhutan. The selected films for the New Currents section and for the Jiseok Award are all notable this year. For the case of Indian cinema, Rajkumar Hirani (who is well known as the director of 3 Idiots, which had a huge success both at the box office and in reviews by critics) will visit Busan for the first time to meet his fans in Korea with his latest work called SANJU. Unlike past years, the festival focuses on rising independent film stars instead of those found in traditional big budget films. For the case of Southeast Asia, and especially due to the Philippine Special Program, the latest works by film masters are notable this year. Mike De Leon (film CITIZEN JAKE), Chito S. Rono (film Signal Rock), Brillante Mendoza (film Alpha, The Right to Kill) and acclaimed Filipino filmmakers anthology film LAKBAYAN (Lav Diaz, Brillante Mendoza, and Kidlat Tahimik) make this year웧 festival more interesting. Indonesian film master Garin Nugroho also introduces his new charming feature Memories of My Body; in addition, works by rising stars from Thailand and Vietnam are also to be screened at the festival. Central Asian countries are gradually showing their power in many major film festivals, and the Busan International Film Festival웧 interest in promoting and discovering new Central Asian films continues this year. Kyrgyzstan makes a notable leap this year through AURORA (which is competing in the New Currents section), and with its very first musical feature The Song of The Tree that will premiere at the festival. An Uzbekistan film Fortitude, a country that has recently started to open up their culture and society, will become a bridge between Busan and Central Asia. Comparatively less Iranian films will be screened at the festival this year; however, several Iranian film masters latest works will be introduced such as Jafar Panahi웧 3 FACES and Amir Naderi웧 Magic Lantern (a filmmaker who mainly works in the United States). Touraj Aslani, who has worked as a cinematographer with Bahman Ghobadi for a long time, competed in the New Currents section with his film Gold Carrier. Many Asian countries have experimented with many of co-production works or collaborating anthology film projects this year. An anthology project called Ten Years, which first introduced in Hong Kong in 2016, has now become an international project (Thailand, Japan, and Taiwan). All three series of Ten Years will be screened in Busan this year. Especially the anthology film Sincerely Yours, Dhaka, which is the first anthology film project by Bangladesh filmmakers, carries significant meaning for the country.

  • Trending for the Wide Angle Selections, a Leap by Young Asian Filmmakers

    This year웧 Wide Angle section is the place to see the bright future of Asian cinema. Through the giant leap of young rising stars in Asian film, which surprised the major film festivals, the Short Film Competition and a lineup for the Showcase adequately show their diversity. Short films, which have received positive reactions from major film festivals-including Cannes, Venice, and Locarno, will be screened for the Showcase section at the festival. However, various films will also be screened from traditional dramas to horrors, thrillers, and experimental works. Three films are notable this year: A Dance for Ren Hang (experimental short film based on an acclaimed photographer Ren Hang웧 artwork), NOOREH (a story of an elementary school kid who cannot go to school due to a shooting incident that has happened the night before, follows this kid웧 perspective on portraying this village on the border), and MOTHER, DAUGHTER, DREAMS (an unique drama-using a nightmare as a key element-of a mother and a daughter who find it hard to bond). The Documentary section also shows its diversity through controversial issues that many Asian countries are currently going through. Films talk about serious historical issues, the latest work of representative Asian documentary filmmakers, and also passionate works by new directors. There are three films not to miss this year: Shusenjo: The Main Battleground of Comfort Women Issue (film made by Japanese American filmmaker who digs into the 얿omfort women controversy, which has become an international issue), Swimming Through The Darkness (a story of one blind swimmer who wants to show the strength of disabled people involved in sports who live life to its fullest), and BNK48: Girls Don쾢 Cry (a discussion of viral trend of competition television series and the darkness and light of the boy band and girl group industry).

  • Korea

    Female Directors in Full Blast: 2 New Currents Films and 5 Korean Cinema Today-Vision films

    Nine of the selected seventeen films in the Korean Cinema Today-Panorama section have been previously screened in theaters earlier this year: Burning, Along with the Gods: The last 49 days, The Spy Gone North, Illang: The Wolf Brigade, Believer, The Witch : Part 1. The Subversion, The Fortress, Sunset in My Hometown, and Herstory. The other eight works are: filmmaker Hong Sangsoo웧 Grass (which premiered at the Berlin International Film Festival 2018 in the Forum section), director Kim Tae-yong웧 Kokdu: A Story of Guardian Angels (a film version of a stage performance directed by Kim last year with the National Center for Korean Traditional Performing Arts), Memories of a Dead End (a film based on a novel by Yoshimoto Banana and Choi Soo-young starring in the leading role), Kim Dae-myeung, Kim Euisung, and Song Yoonah starring film Stone Skipping (a story of a man with an intellectual disability who is falsely accused), Pray (a story that uses two different methods of storytelling to talk about two married couples who are struggling economically), The Snob (a film that shows a world full of lies and pride), and Passing Summer (a bitter-sweet romance in Jeju Island). Three South Korean films will be screened in the New Currents section. Two teenage girls will lead the story both in Second Life and House of Hummingbird. Two films choose two different ways in storytelling, but share a single theme of a 얿oming-of-age story of a suffering teenage girl. Film Clean up is a story about a kidnapper and a victim who reunite after 12 years. Ten films were selected for the Korean Cinema Today-Vision section. Except for filmmaker Kim Youngnam웧 third feature film A Duck셲 Grin, who made his directorial debut with Don셳 Look Back (2006), nine of the selected films are directorial debut works and five of them are female directors. Both of Young-ju and Sub-zero Wind share a common theme in the coming-of-age films. A Boy and Sungreen is a middle school boy웧 coming-of-age film and Bori is an elementary school girl웧 coming-of-age film. Maggie (directed by Yi Okseop with the cast including Gu Kyohwan and Lee Juyoun) and actor Son Byungho웧 Don셳 Go Too Far are two black comedies full of creativity. Actress Choi Hee-seo웧 Our Body and Lee Youngjin웧 Between the Seasons deal with the topic of female sexuality from fresh perspectives. However, it is rare to find films about men this year, except for night light that offers a father and son relationship story.

  • Abundance of Korean Documentaries

    The 23rd Busan International Film Festival is abundant with 6 Wide Angle-Documentary Competition section films and 8 Wide Angle-Documentary Showcase section this year. Kang Sang-woo웧 KIM-GUN traces the reality of the May 18 North Korean Intervention hypothesis through a clue in a black and white photograph, A War of Memories by Lee-Kil Bora, Resound by Jeong Ilgeon of the Asian Network of Documentary (AND) Fund project, and Kelvin Kyungkun Park웧 ARMY are also contending for sought after awards. Myoung Sohee웧 The Strangers and Han Hyesung웧 Unknown Knowns are selected to show their youthful spirit in the competition section. A work selected in the Wide Angle-Documentary Showcase section represents the vibrant scenes of Korean society in the 2010s with diverse subjects and cases. Light A Candle, Write A History Candlelight Revolution summarizes the candlelight vigils held in Korea from 2016-17, where citizens censured a corrupt government with a unified voice and showed mature civic awareness in demanding government accountability. This candlelight documentary feature will leave the future documentary producing a substantial message. A series of films, Gravity of the Tea and Cloud, Encore by director and film critic, Jung Sung-il over 8 years showcases a walk through the history of a great master of Korean cinema, Im Kwon-taek and his filmmaking of the 102nd feature film, Revivre. Yi Seung-jun웧 Crossing Beyond following the hit, Planet of Snail, tells the story of PyeongChang Winter Olympics athletes from different nationalities and backgrounds participating in various events. In addition, Park Baeil웧 Last Scene and Kim Jigon웧 Little boy 12725 are new films by documentary filmmakers who represent Busan; in addition, Koo Yunjoo웧 Dear My Genius and Children Gone to Poland by director/actress Choo Sangmee will also be introduced. Two Korean animated feature films have been selected for the Wide Angle-Animation Showcase section. The Shaman Sorceress, a famous novel by Kim Tong-ni, depicts a conflict between a shaman-mother and a faithful Christian-son during the enlightenment period which intensified into a family breakdown, has been reinterpreted through animation by director Ahn Jaehuun. This revised edition has attracted significant interest from European animation markets since the production stage due to its perfect beauty shown through Korea traditions. Chang Hyung-yun, one of the directors in film history renowned for his unique imagination and sophisticated lyrics to Wolf Daddy and The Satellite Girl and Milk Cow, will be invited to the 23rd Busan International Film Festival thanks to his second feature film Ireesha, The Daughter of Elf-king. In addition, Wide Angle-Short Film Showcase section BELIEVE IT OR NOT directed by Park Chan-kyong of MANSHIN: Ten Thousand Spirits and over there filmed over a period of four years against the backdrop of Jeju Island are remarkable and deserve special attention.

  • World

    Directorial Debuts of Hollywood Actors, Latest Works of American Film Masters

    There are several notable directorial or producing debuts by Hollywood stars this year. Blaze, directed by Ethan Hawke, is based on the life of country singer-songwriter Blaze Foley. Also, Maggie Gyllenhaal (famously known as Rachel in The Dark Knight) stars in and produces The Kindergarten Teacher, who has won the Directing Award at the Sundance Film Festival this year. American film masters have steadily introduced their latest works. Without a doubt, First Man directed by Damien Chazelle of Whiplash and La La Land, The Fall of the American Empire by Canadian filmmaker Denys Arcand and Fahrenheit 11/9 by rebellious documentary filmmaker Michael Moore are films that cinephiles have been waiting for. Meanwhile, Alfonso Cuaron웧 Roma, which became the talk of the town due to a conflict between Cannes and Netflix as well as Our Time directed by Carlos Reygadas, the forefront of Mexican Art Film will also screen at the Busan International Film Festival. Birds of Passage by Colombian filmmaker Ciro Guerra, who visited Busan in 2015 with Embrace of the Serpent, and Cristina Gallego is a leading work that the whole world will watch this year.

  • Masters to Rising Stars, the Power of European Cinema from North to South

    One of the most notable selected works among French films this year is Image Book directed by Jean-Luc Godard, the pioneer of Nouvelle Vague movement. Plus, many French auteur filmmakers including Jacques Audiard with his first English-language film The Sisters Brothers that is the first time for him to work with Hollywood actors, Claire Denis (who has a special bond with the Busan International Film Festival), Olivier Assayas, Gaspar Noe of French film geek, and Pierre Schoeller of One Nation, One King will also visit Busan this year. In addition, an extensive lineup of Italian films is notable. First, a two-and-a-half-hour international version of Paolo Sorrentino웧 film series Loro, which covers the former Prime Minister of Italy Silvio Berlusconi, will be screened. Matteo Garrone웧 Dogman, Alice Rohrwacher웧 Happy as Lazzaro, Mario Martone웧 Capri-Revolution, and one of the representative Italian documentary filmmakers Roberto Minervini웧 What You Gonna Do When the World셲 on Fire? will also screen at the Busan International Film Festival. Scandinavian works this year received more attention than other years. A touching drama Jimmie (Sweden) and The House That Jack Built (Denmark) by controversial Lars Von Trier with Border (Sweden, Denmark), the best hit of the Cannes Film Festival 2018, in the lead are opening new horizons for Scandinavian film. In particular, new yet unfamiliar Icelandic films, Women at War and Artic are interestingly eye-catching. The Central European films show diverse social issues in unique styles from genre imagination to realism and political rapacity including In My Room (Germany) by Ulrich K철hler, the vanguard of the Berlin School, and Our Struggles (Belgium) which encapsulates a conflict between a laborer웧 daily life and workplace. Girl by Lukas Dhont, the winner of the Cam챕ra d'Or at the Cannes Film Festival 2018 is a must-see film. Veteran directors and rookies of Eastern European are also having important breakthroughs. In addition to Pawel Pawlikowski웧 new film Cold War (Poland) following the hit, Ida which won the Academy Award for Best Foreign Language Film, new films by Ukrainian film master Sergei Loznitsa and one of the Rumanian helmer Radu Jude웧 film have been selected in the World Cinema section. Hungarian rookie Laszlo Nemes Sunset coming after Son of Saul (2015) and Kirill Serebrennikov웧 new film Summer (Russia) starring Teo Yoo as a Korean-Russian rocker Viktor Tsoi are likely to inspire cinephiles. A variety of world films, including The Wild Pear Tree by Turkish film master Nuri Bilge Ceylan and Rafiki of Wanuri Kahiu, Kenya which has been banned for female homosexuality will visit the Busan International Film Festival this year.

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