A new film by Iranian director Nader Saeivar, who was invited to the New Currents section in 2022 with No End. While the director portrayed an ironic situation where an innocent citizen had to confess to a crime in No End, this film exposes the unreasonable reality where the law and public power protect the criminal even though someone has witnessed a murder. Although it indirectly criticizes the reality of Iranian society, it’s not just a film with bare political consciousness but one that shows the power of universally relatable characters. The protagonist, Mrs. Ghorbani, is a dignified elderly woman. While taking care of Zara, the daughter of her friend who died in an accident, the old lady is also active in union activities at the school where she has worked for decades. Mrs. Ghorbani visits Zara’s house and notices her husband’s suspicious behavior, realizing that Zara has been killed by her husband. She testifies about the murder to the police, but Zara’s husband claims innocence in various ways. Mrs. Ghorbani repeatedly hits obstacles, but she can’t unsee what she has seen. Her lonely fight for the truth continues. (NAM Dong-chul)

Two sisters gather with their husbands and children to head for a weekend at a peaceful country house. While the women dance to ‘90s pop music and the men posture their masculine bravado, the children are eager to go for a swim in the nearby lake. Brimming tension erupts as a horrific accident occurs, and what was supposed to be a relaxing holiday turns into a family tragedy and changes their lives forever. Winner of the Venice Orizzonti in 2021, Laurynas Bareiša’s sophomore feature film is meticulously structured. He stuns the audience with a narrative twist coming out of nowhere, and reveals what happened then only after contrasting with what is now. As suggested by the title Drowning Dry, the blink of an eye misfortune leading to the eventual failure of the sisters’ marital relationship is a delayed process, and the wounds sustained may take a longer time to grieve and heal. (Karen PARK)

In the ages of gods, Ashwathama was cursed with immortality after losing a war, doomed to wander until he finds redemption in the next era of humankind. Six thousand years later, humanity has reached a dystopian state, marred by endless war and slaughter. A single government controls all military forces and resources, and only the wealthy live relatively peaceful lives in a megastructure called the Complex. In the Complex, a secret experiment known as Project K is being conducted on women of childbearing age. Released in 2024, Kalki 2898 AD became an instant sensation, not just in India but also in North America. The film presents a thrilling clash between past and present, good and evil, and the worlds of mythology and science. With grand music, intense action, and striking mise-en-scene, the performances by Prabhas from Baahubali, Deepika Padukone from Om Shanti Om (2007), and Kamal Haasan from Vikram (2022) add credibility to this spectacular film. (PARK Sun Young)

Olive is a young lady who has been single for a quite some time. One day, she meets Benny at a party, who works as a waiter. They instantly hit it off and fall in love, yet over time their connection gradually unravels as their shared memories and experiences start disappearing, leaving them questioning the very foundation of their relationship. Do I Know You From Somewhere? is a Canadian drama directed by newcomer Arianna Martinez, who also co-wrote the film with producer Gordon Mihan. This is a mysterious drama with meticulous direction and a thought-provoking story expressed in a truly unique form. It is also an emotional story that will touch the audience’s hearts by the end. The fine performances from Caroline Bell and Ian Ottis Goff, who play Olive and Benny respectively, are another element that makes this film stand out. Do I Know You from Somewhere? is Martinez’s first feature film and premiered at this year’s Toronto Film Festival.

Cheon-yeong (Gang Dong-won) is the personal servant of Jong-ryeo (Park Jeong-min), the only son of a noble family with a powerful military background. The two are extremely close, having grown up together since childhood. Cheon-yeong longs to be free from slavery, and Jong-ryeo tries to help him. Unfortunately, however, the situation becomes complicated, and their relationship deteriorates. When the slaves of Jong-ryeo’s family rise up and kill the entire household, Jong-ryeo mistakenly believes that Cheon-yeong is the mastermind and vows revenge. After experiencing the Japanese invasion of Korea, Cheon-yeong as a righteous soldier and Jong-ryeo as a royal guard eventually face each other, each pointing their swords at the other. Uprising is a work that director Park Chan-wook participated in as a producer and screenwriter, which made it already a hot topic from the time of its production announcement. Director Kim Sang-man, known for his directing talent in genre films, worked with outstanding production staff including those in cinematography, art, music, costumes, and makeup, to create a refined and powerful historical epic that brings out the best in every aspect. The harmonious blend of characters brought to life by the star-studded cast is also captivating. The characters with various colors shine through the turbulent times: the swordsman (Gang Dong-won), who, despite his slave origins, overflows with dignity and spirit; the warrior (Park Jeong-min), who wavers between friendship and anger with complex emotions; the stubborn yet cowardly king (Cha Seung-won); the loyal and brave righteous soldier (Kim Shin-rock); the compassionate and wise general (Jin Sun-kyu); and the cunning yet capable enemy commander (Jung Sung-il). Park Chan-wook’s humor, which often comes out instinctively rather than being hidden, is entertaining. The story, designed with intense conflicts and confrontations, is full of tension. Above all, the film progresses with unrelenting force from beginning to end, and that force is its most compelling charm. (JUNG Hanseok)

Sunhi(Jung Yumi), a film graduate about to study in the United States, meets three men: Donghyun(Kim Sangjoong) a university professor; Jaehak(Jung Jaeyoung), a senior; and Munsoo(Lee Sun-kyun), her ex-boyfriend. The men all say that Sunhi is pretty and nice, and for oddly similar reasons. However, it’s hard to tell if they really know her, or if their words truly reveal who she is. Among them, Munsoo is the most transparent and honest about his feelings for Sunhi. Lee Sun-kyun carries the film through a long take that stretches well over 10 minutes, fiercely delving into the moods of Sunhi and Munsoo, and even the influence of liquor. “If I don’t do anything, I won’t know what’s really good! I have to dig all the way... I have to dig all the way to get there. I have to dig all the way and go to find out about myself.” Even while swaying, he is powerful. Unable to fully express himself with drunken words, Munsoo uses gestures and movements to convey his true feelings. In that moment, his presence and mark are firmly imprinted in the film. (JEONG Jihye)

Twenty years after doomsday, one of the last remaining families on earth are hiding in a luxurious bunker concealed deep inside salt mines. But the sudden arrival of a Girl seeking asylum shakes their seemingly perfect life, and the Son starts to question the life that his family survived before, and in the years since, the apocalypse occurred.
In his long-awaited fiction debut, Joshua Oppenheimer continues his interest in people haunted by ghosts from their past. Those who remember Act of Killing (2012) and The Look of Silence (2014) will recognize not only the recurring theme, but also the continual emphasis on singing and dancing, as The End is a musical with compelling lyrics that express the insurmountable guilt followed by resorting to denial. The film is supported by a strong ensemble cast including Tilda Swinton, George MacKay, and Moses Ingram. (Karen PARK)

From 2014 to 2019, Wang Bing filmed workers in the Chinese garment district of Zhili in Huzhou, Zhejiang Province. In 18,000 workshops, 300,000 migrant workers who have left home to toil for low wages, working 15-hour days. Youth (Hard Times) is the second chapter in the trilogy of films that follow the workers in the workshops of Zhili, following Youth (Spring). This time, the focus is on “money.” A young worker misplaces his wage ledger and pleads with his boss to be paid, only to be ignored. At one factory, the owner fails to pay on Sunday and then disappears, leaving only the unpaid workers behind. In such moments, someone always says, “I should go back home and farm” or “Everyone is like that here.” Another factory sees disputes over overtime pay. When the workers board buses to return home for the Spring Festival, they fall asleep clutching gift packages. A young man sings, “I want to know why you look so sad.” (JUNG Sung-il)

When talking about the October 26 Incident of 1979, how many people remember Park Heung-ju, the secretary to the Director of the KCIA at the time? Land of Happiness brings to the forefront this man who was at the center of the incident but was quickly erased from history, executed by firing squad in just 16 days. Lee Sun-kyun portrays Park Tae-ju, a soldier inspired by this figure. From his resolute professional consciousness as a soldier who won’t abandon orders and rules, to the guilt of a man willing to pay the price for historical sins, and to the human spirit striving to remain dignified until the end. Lee Sun-kyun’s voice resonates deeper than ever, heavy yet calm; his proud profile cast in deep shadows; his posture upright and unwavering in the courtroom; his voice faintly trembling as if mixed with subtle tears in the final moments. We come to understand what it means for a single person to bear the full weight of history while caught in its whirlwind. This is Lee Sun-kyun’s final work. (JEONG Jihye)

Pierre, a railroad worker, is raising his two sons alone. His eldest, Fus, who loves soccer, has become secretive as he starts hanging out with far-right friends, while his younger son, Louis, is about to study at the Sorbonne in Paris. The once close-knit family begins to unravel due to Fus’ wayward behaviors. Pierre tries to reason with his son, who is becoming increasingly violent under the influence of totalitarian ideologies, but to no avail. Eventually, a terrible tragedy befalls the family. The director does not equip Fus with sophisticated language filled with political ideologies and beliefs but rather gives him the body as a tool to express these ideas through intense physicality—sports, dance, and fights. When Fus dances in a trance-like state and others start to appear around him, colliding and dancing wildly, it becomes clear that their movements are not just dance. The performances by Vincent Lindon as Pierre and Benjamin Voisin as Fus leave long-lasting impressions. (LEE Juhyun)

Born for the Spotlight, the third drama series directed by renowned Taiwanese actor, writer and director Yen Yi-wen, after her previous two-part drama series The Making of an Ordinary Woman Parts 1 and 2. The series follows the lives of women working in various roles within the show business industry. Featuring Taiwanese actors who are familiar to Korean audiences, it showcases a diverse cast of vibrant characters: an actor frustrated by typecasting, an actor attempting a comeback after an unwanted hiatus, a director preparing for her first feature film, a passionate supporting actor, a rookie dreaming of her big break while juggling part-time jobs, and a small-time talent manager whose overzealousness drives others away. Born for the Spotlight depicts their lives as they fiercely pursue their dreams and passions, intertwined with ambitions and desires, shining a spotlight on the affectionate bonds of solidarity that the women forge. (PARK Sun Young)

Albert (Damien Bonnard), a freelance journalist living in the outskirts of Paris, vows to avenge the brutal murder of his young daughter. By his side is Sayoko (Shibasaki Ko), a Japanese doctor who, for reasons unknown, assists him in his quest for revenge. To uncover the truth, Sayoko and Albert resort to capturing and brutally torturing those connected to the case. They eventually uncover that the people who kidnapped his daughter are linked to a mysterious cult, but a shocking truth that no one could have anticipated is coiled up behind it. Serpent’s Path (2024) is an adaptation and remake of Kurosawa Kiyoshi’s 1998 film of the same name. Filmed in France and in French, the movie shares the basic storyline of the original but diverges from the cult classic yakuza genre of its predecessor. Though filled with gritty and brutal violence, the film ultimately reaches the profound depths behind the truth. Above all, Shibasaki Ko’s restrained and chilling performance adds the final touch of suspense. (SONG Kyung-won)